| 266 | https://historysoa.com/items/show/266 | The Author, Vol. 05 Issue 02 (July 1894) | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=49&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=%3Cem%3EThe+Author%3C%2Fem%3E%2C+Vol.+05+Issue+02+%28July+1894%29"><em>The Author</em>, Vol. 05 Issue 02 (July 1894)</a> | | | <a href="https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253" target="_blank" rel="noopener">https://babel.hathitrust.org/cgi/pt?id=mdp.39015013732253</a> | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=51&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=Publication">Publication</a> | 1894-07-02-The-Author-5-2 | | | | | 33–60 | | | | | | | | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=89&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=5">5</a> | | | | | | | | | | | <a href="/items/browse?advanced%5B0%5D%5Belement_id%5D=76&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=1894-07-02">1894-07-02</a> | | | | | | | 2 | | | 18940702 | C be El utb or,<br />
(The Organ of the Incorporated Society of Authors. Monthly.)<br />
CONDUCTED BY WALTER BESAN. T.<br />
WoL. W.-No. 2.]<br />
JULY 2, 1894.<br />
[PRICE SIXPENCE.<br />
For the Opinions earpressed in papers that are<br />
signed or initialled the Authors alone are<br />
Tesponsible. Wome of the papers or para-<br />
graphs must be taken as earpressing the<br />
collective opinions of the committee unless<br />
they are officially signed by G. Herbert<br />
Thring, Sec. -<br />
HE Secretary of the Society begs to give notice that all<br />
remittances are acknowledged by return of post, and<br />
requests that all members not receiving an answer to<br />
important communications within two days will write to him<br />
without delay. All remittances should be crossed Union<br />
Bank of London, Chancery-lame, or be sent by registered<br />
letter only.<br />
Communications and letters are invited by the Editor on<br />
all subjects connected with literature, but on no other sub-<br />
jects whatever. Articles which cannot be accepted are<br />
returned if stamps for the purpose accompany the MSS.<br />
*~ * ~ *<br />
g- - -,<br />
WARNINGS AND ADVICE,<br />
I. T is not generally understood that the author, as<br />
the vendor, has the absolute right of drafting the<br />
agreement upon whatever terms the transaction<br />
is to be carried out. Authors are strongly advised to<br />
exercise that right. In every form of business, this among<br />
others, the right of drawing the agreement rests with him<br />
who sells, leases, or has the control of the property.<br />
2. SERIAL RIGHTS.—In selling Serial Rights remember<br />
that you may be selling the Serial Right for all time; that<br />
is, the Right to continue the production in papers. If you<br />
object to this, insert a clause to that effect.<br />
3. STAMP YOUR AGREEMENTs. – Readers are most<br />
URGENTLY warmed not to neglect stamping their agreements<br />
immediately after signature. If this precaution is neglected<br />
for two weeks, a fine of £10 must be paid before the agree-<br />
ment can be used as a legal document. In almost every<br />
case brought to the secretary the agreement, or the letter<br />
which serves for one, is forwarded without the stamp. The<br />
author may be assured that the other party to the agree-<br />
ment seldom neglects this simple precaution. The Society,<br />
to save trouble, undertakes to get all the agreements of<br />
members stamped for them at no eaſpense to themselves<br />
eacept the cost of the stamp.<br />
4. AsCERTAIN WHAT A PROPOSED AGREEMENT GIVES To<br />
BOTH SLDES BEFORE SIGNING IT.-Remember that an<br />
arrangement as to a joint venture in any other kind of busi-<br />
ness whatever would be instantly refused should either party<br />
WOL. W.<br />
refuse to show the books or to let it be known what share he<br />
reserved for himself. r<br />
5. LITERARY AGENTS.—Be very careful. You cannot be<br />
too careful as to the person whom you appoint as your<br />
agent. Remember that you place your property almost un-<br />
reservedly in his hands. Your only safety is in consulting<br />
the Society, or some friend who has had personal experience<br />
of the agent. Do not trust advertisements alone. -<br />
6. CosT OF PRODUCTION.——Never sign any agreement of<br />
which the alleged cost of production forms an integral part,<br />
until you have proved the figures.<br />
7. CHOICE OF PUBLISHERS.—Never enter into any cor-<br />
respondence with publishers, especially with those who ad-<br />
vertise for MSS., who are not recommended by experienced<br />
friends or by this Society.<br />
8. FUTURE WORK.—Never, on any accownt whatever,<br />
bind yourself down for future work to anyone.<br />
9. PERSONAL RISK.—Never accept any pecuniary risk or<br />
responsibility whatever without advice.<br />
Io. REJECTED MSS.—Never, when a MS. has been re-<br />
fused by respectable houses, pay others, whatever promises<br />
they may put forward, for the production of the work.<br />
II. AMERICAN RIGHTS.—Never sign away American<br />
rights. Keep them by special clause. Refuse to sign any<br />
agreement containing a clause which reserves them for the<br />
publisher, unless for a substantial consideration.<br />
12. CESSION OF COPYRIGHT.-Never sign any paper,<br />
either agreement or receipt, which gives away copyright,<br />
without advice.<br />
13. ADVERTISEMENTS. — Keep some control over the<br />
advertisements, if they affect your returns, by a clause in<br />
the agreement.<br />
I4. NEVER forget that publishing is a business, like any<br />
other business, totally unconnected with philanthropy<br />
charity, or pure love of literature. You have to do with<br />
business men. Be yourself a business man.<br />
Society’s Offices :-<br />
4, PORTUGAL STREET, LINCOLN's INN FIELDs.<br />
*— — —”<br />
e= *<br />
HOW TO USE THE SOCIETY,<br />
I. VERY member has a right to ask for and to receive<br />
advice upon his agreements, his choice of a pub-<br />
lisher, or any dispute arising in the conduct of his<br />
business or the administration of his property. If the advice<br />
sought is such as can be given best by a solicitor, the member<br />
has a right to an opinion from the Society’s solicitors. If the<br />
case is such that Counsel’s opinion is desirable, the Com-<br />
mittee will obtain for him Counsel’s opinion. All this<br />
without any cost to the member,<br />
E 2<br />
<br />
<br />
## p. 34 (#48) ##############################################<br />
<br />
3+ THE<br />
AUTHOR.<br />
2. Remember that questions connected with copyright<br />
and publisher's agreements do not generally fall within the<br />
experience of ordinary solicitors. Therefore, do not scruple<br />
to use the Society first—our solicitors are continually<br />
engaged upon such questions for us.<br />
3. Send to the office copies of past agreements and past<br />
accounts with the loan of the books represented. This is in<br />
order to ascertain what has been the nature of your agree-<br />
ments, and the results to author and publisher respectively<br />
so far. The Secretary will always be glad to have any<br />
agreements, new or old, for inspection and note. The infor-<br />
mation thus obtained may prove invaluable.<br />
4. If the examination of your previous business trans-<br />
actions by the Secretary proves unfavourable, you should<br />
take advice as to a change of publishers.<br />
5. Before signing any agreement whatever, send the pro-<br />
posed document to the Society for examination.<br />
6. The Society is acquainted with the methods, and—in<br />
the case of fraudulent houses—the tricks of every publish-<br />
ing firm in the country.<br />
7. Remember always that in belonging to the Society you<br />
are fighting the battles of other writers, even if you are<br />
reaping no benefit to yourself, and that you are advancing<br />
the best interests of literature in promoting the indepen-<br />
dence of the writer.<br />
8. Send to the Editor of the Author notes of everything<br />
important to literature that you may hear or meet with.<br />
*- - -º<br />
r- - -<br />
THE AUTHORS' SYNDICATE,<br />
EMBERS are informed :<br />
1. That the Authors' Syndicate takes charge of<br />
the business of members of the Society. With, when<br />
necessary, the assistance of the legal advisers of the Syndi-<br />
cate, it concludes agreements, collects royalties, examines<br />
and passes accounts, and generally relieves members of the<br />
trouble of managing business details.<br />
2. That the expenses of the Authors' Syndicate are<br />
defrayed solely out of the commission charged on rights<br />
placed through its intervention. Notice is, however, hereby<br />
given that in all cases where there is no current account, a<br />
booking fee is charged to cover postage and porterage.<br />
3. That the Authors' Syndicate works for none but those<br />
members of the Society whose work possesses a market<br />
value.<br />
4. That the Syndicate can only undertake any negotiation<br />
whatever on the distinct understanding that those negotia-<br />
tions are placed exclusively in its hands, and that all<br />
communications relating thereto are referred to it.<br />
5. That clients can only be seen by the Director by<br />
appointment, and that, when possible, at least four days'<br />
notice should be given.<br />
6. That every attempt is made to deal with the corre-<br />
spondence promptly, but that owing to the enormous number<br />
of letters received, some delay is inevitable. That stamps<br />
should, in all cases, be sent to defray postage.<br />
7. That the Authors' Syndicate does not invite MSS.<br />
without previous correspondence, and does not hold itself<br />
responsible for MSS. forwarded without notice.<br />
8. The Syndicate undertakes arrangements for lectures<br />
by some of the leading members of the Society; that it has<br />
a “Transfer Department * for the sale and purchase of<br />
journals and periodicals; and that a “Register of Wants<br />
and Wanted” has been opened. Members anxious to obtain<br />
literary or artistic work are invited to communicate with<br />
the Manager. - *. -<br />
There is an Honorary Advisory Committee, whose services<br />
will be called upon in any case of dispute or difficulty. It<br />
is perhaps necessary to state that the members of the<br />
Advisory Committee have no pecuniary interest whatever in<br />
the Syndicate.<br />
NOTICES,<br />
HE Editor of the Awthor begs to remind members of the<br />
Society that, although the paper is sent to them free<br />
of charge, the cost of producing it would be a very<br />
heavy charge on the resources of the Society if a great<br />
many members did not forward to the Secretary the modest<br />
6s. 6d. subscription for the year.<br />
The Editor is always glad to receive short papers and<br />
communications on all subjects connected with literature<br />
from members and others. Nothing can do more good to<br />
the Society than to make the Author complete, attractive,<br />
and interesting. Will those who are willing to aid in this<br />
work send their names and the special subjects on which<br />
they are willing to write P<br />
Communications for the Author should reach the Editor<br />
not later than the 21st of each month.<br />
All persons engaged in literary work of any kind, whether<br />
members of the Society or not, are invited to communicate<br />
to the Editor any points connected with their work which<br />
it would be advisable in the general interest to publish.<br />
Members and others who wish their MSS. read are<br />
requested not to send them to the Office without previously<br />
communicating with the Secretary. The utmost practicable<br />
despatch is aimed at, and MSS. are read in the order in<br />
which they are received. It must also be distinctly under-<br />
stood that the Society does not, under any circumstances,<br />
undertake the publication of MSS.<br />
The Authors’ Club is now open in its new premises, at<br />
3, Whitehall-court, Charing Cross. Address the Secretary<br />
for information, rules of admission, &c.<br />
Will members take the trouble to ascertain whether they<br />
have paid their subscriptions for the year P If they will do<br />
this, and remit the amount, if still unpaid, or a banker’s<br />
order, it will greatly assist the Secretary, and save him the<br />
trouble of sending out a reminder. -<br />
Members are most earnestly entreated to attend to the<br />
warning numbered (8). It is a most foolish and may be a<br />
most disastrous thing to enter into an agreement binding<br />
for a term of years. Let them ask themselves if they<br />
would give a solicitor the collection of their rents for five<br />
years to come, whatever his conduct, whether he was honest<br />
or dishonest? Of course they would not. Why them<br />
hesitate for a moment when they are asked to sign them-<br />
selves into literary bondage for three or five years P<br />
Those who possess the “Cost of Production ” are<br />
requested to note that the cost of binding has advanced 15<br />
per cent. This means, for those who do not like the trouble<br />
of “doing sums,” the addition of three shillings in the<br />
pound on this head. In other words, if the cost of binding<br />
is set down in our book at eight pounds, to this must now be<br />
added twenty-four shillings more, so that it now stands at<br />
389 4s. The figures in our book are as near the exact truth<br />
as can be procured; but a printer's, or a binder's, bill is so<br />
elastic a thing that nothing more exact can be arrived at.<br />
Some remarks have been made upon the amount charged<br />
in the “Cost of Production ” for advertising. Of course, we<br />
have not included any sums which may be charged for<br />
inserting advertisements in the publisher’s own magazines,<br />
or in other magazines by exchange. As agreements too<br />
<br />
<br />
## p. 35 (#49) ##############################################<br />
<br />
THE AUTHOR.<br />
35<br />
often go, there is nothing to prevent the publisher from<br />
sweeping the whole profits of a book into his own pocket,<br />
by inserting any number of advertisements in his own<br />
magazines, and by exchanging with others. Some there are<br />
who call this a form of fraud; it is not known what those<br />
who practise this method of swelling their own profits call it.<br />
*- - -<br />
r- > -s<br />
LITERARY PROPERTY.<br />
I.—A CASE OF SECRET PROFITs.<br />
WHE case which was mentioned in the Author<br />
for March, 1893 (p. 353), and June, 1894,<br />
(p. 14), plain as it may have appeared,<br />
has now dragged along for some four years,<br />
The French writer, known by the nom de<br />
plume of “Léo Taxil,” had some reason or other<br />
for suspecting that his publishers were treating<br />
him unfairly as to the number of copies of his<br />
many books printed and sold, and that they were<br />
thus depriving him wholesale of his royalty per<br />
copy. He therefore called for an account which,<br />
when received in July, 1890, showed him some<br />
438 in debt to the publishing firm.<br />
The author, naturally indignant, set in motion<br />
a criminal prosecution for “abuse of confidence.”<br />
The outcome of this move was that the publishers<br />
informed the author that they had unfortunately<br />
omitted from the account rendered two whole<br />
editions of one of his books, and that there was due<br />
to him in consequence 3133. At the same time<br />
they admitted that on his other works the number<br />
of copies sold had exceeded the figures shown in<br />
the account rendered to such an extent that the<br />
royalty due to the author was understated by<br />
312O more, making £253 due to him instead of<br />
398 due from him.<br />
But expert accountants were then put in by the<br />
courts to examine the firm’s books, and the total<br />
damage to the author was assessed by them at<br />
no less than £152O, for Léo Taxil's books, what-<br />
ever may be thought of them, have had a con-<br />
siderable circulation.<br />
The criminal prosecution therefore went on,<br />
though the legal proceedings are somewhat diffi-<br />
cult to reconcile. Here, however, is a resumé of<br />
the facts as taken from the Journal des Débats,<br />
the Gazette des Tribunawa, and the Siècle. To<br />
begin with, the correctional tribunal (a criminal<br />
court) acquitted the publishers, in Feb., 1892,<br />
of “abuse of confidence.” On appeal by the<br />
Public Prosecutor (and by the author also on the<br />
point of damages) a decision of the court above,<br />
in the following April, quashed the previous pro-<br />
ceedings as having been in error, because the<br />
facts as alleged would, if proved, constitute not<br />
mere “abuse of confidence,” but falsification of<br />
documents and criminal use of the same.<br />
Accordingly, in Feb., 1893, the case was sent<br />
down again (in spite of a fresh appeal from the<br />
publishers) for retrial in this sense.<br />
Eventually the publishers were again indicted<br />
for entering in their books, and in their accounts<br />
rendered, certain erroneous items, with the effect<br />
of depriving M. Léo Taxil of a portion of his<br />
“author's rights” to the extent of £152O. In<br />
the meanwhile, however, as the Gazette des<br />
Tribunaua, reports the case, the publisher had<br />
induced the author to desist, paying him £4600<br />
(115,000 francs) as damages. But the court,<br />
nevertheless, compelled him to continue to appear<br />
in the case as an interested party.<br />
The case only came on for trial at the May<br />
assizes of this year, when the defence was that<br />
the admitted errors in the books were merely<br />
clerical, and that, according to a custom of the<br />
trade, publishers had a right to print for them-<br />
selves twenty copies of a work over and above<br />
every 100 copies acknowledged to the author.<br />
That is to say, that when an author receives<br />
royalty on 5000 copies, 6000 have actually been<br />
printed and sold.<br />
The Public Prosecutor having admitted that<br />
there were “extenuating circumstances” in favour<br />
of the accused, a Parisian jury acquitted them,<br />
while M. Léo Taxil was, in consequence of this<br />
acquittal, cast in the costs. How much these<br />
may be we know not, nor are we told what<br />
offence he had committed to merit this penalty;<br />
but it would be well for English authors who may<br />
purpose any professional work in France to make<br />
a careful mote of this strange case, and of that<br />
alleged secret custom of confiscating one in six of<br />
the copies of every edition as publisher's per-<br />
quisites. J. O’N.<br />
The following is the official report from the<br />
Gazette des Tribunawa .<br />
L'affaire dont a eu ä connaitre aujourd’hui la Cour<br />
d’Assizes mettait en présence, d'une part, M. Léo Taxil<br />
et son gendre, M. Joubert, et de l'autre, MM. Letouzey et<br />
Ané, editeurs.<br />
Il s'agit, non d’un procès de presse, mais d’une affaire<br />
de faux, engagée sur la plainte de M. Léo Taxil. C'est<br />
l’épilogue des nombreux incidents qui signalèrent les<br />
démélés de M. Léo Taxil avec ses éditeurs et dont le début<br />
remonte à 1892. Ceux-ci ont successivement publié un<br />
grand nombre de volumes et des brochures de M. Léo<br />
Taxil. Soupçonnant que ses éditeurs ne lui remettaient pas<br />
exactenment les droits d’auteur auxquels il avait droit, M.<br />
Léo Taxil, ne pouvant obtenir un relevé de compte exact,<br />
déposa une plainte contre eux.<br />
Une instruction fut ouverte qui se termina par la com-<br />
parution de M.M. Letouzey et Ané et de M. Picquoin, leur<br />
imprimeur, devant le Tribunal correctionnel sous la pré-<br />
vention d’abus deconfiance et de complicité. Tous trois furent<br />
acquittés (W. Gaz. des Trib. du 17 février 1892).<br />
Le ministère publie et M. Léo Taxil ayant fait appel, la<br />
Cour confirma le jugement de première instance en déclarant<br />
que les faits relevés à la charge des prévenus constitue-<br />
<br />
<br />
## p. 36 (#50) ##############################################<br />
<br />
36<br />
THE A UTHOR.<br />
raient, s'ils étaient établis, des faux et non pas le délit<br />
d'abus de confiance (V. Gaz. des Trib. du 15 avril 1892),<br />
La Cour de Cassation, saisie d'une demande de règlement<br />
de juges et d'un pourvoi de MM. Letouzey et Ané, rejeta<br />
le pourvoi et renvoya les prévenus devant la Chambre des<br />
mises en accusation (V. Gaz. des Trib. du 12 février 1893).<br />
Un arrêt de cette chambre ordonna un supplément d'informa-<br />
tion à la suit de laquelle, l'imprimeur Picquoin a été écarté<br />
de la poursuite et MM. Letouzey et Ané renvoyés devant la<br />
Cour d'Assizes.<br />
C'est dans ces condition que ceux-ci se présentent<br />
aujourd'hui, devant le jury. L'accusation leurs reproche<br />
d'avoir porté sur leurs livres et dans leurs règlements de<br />
comptes, des chiffres inexacts, de manière à frustrer M.<br />
Léo Taxil d'une partie de ses droits d'auteur évaluée dans<br />
l'expertise à environ 38,ooo francs. Pour arriver à ce<br />
résultat MM. Letouzey et Ané auraient, non seulement<br />
indiqué un nombre de volumes inférieur à la réalité, mais<br />
aussi omis de mentionner deux éditions entières.<br />
Les accusés prétendent pour leur défense que les irrégu-<br />
larités constatées sont de simples erreurs de comptabilité ;<br />
que, de plus, d'après les usages de librairie, ils avaient le droit<br />
de tirer un nombre d'exemplaires supérieur de 2o p. IOO au<br />
chiffre officiel. L'expertise conteste l'exactitude de ces<br />
explications. •<br />
· Au cours de l'instruction MM. Letouzey et Ané ont<br />
obtenu de Léo Taxil son désistement, moyennant le paiement<br />
d'une somme de I 15,ooo francs, chiffre auquel a été évalué<br />
le préjudice éprouvé par celui-ci.<br />
M. Léo Taxil n'en a pas moins été assigné comme partie<br />
civile, qualité qu'il a prise dès le début de ces contestations.<br />
Il est assisté à l'audience par son gendre M. Joubert.<br />
Divers témoins sont entendus : M. Rossignol, expert, M.<br />
Eugène Moreau, éditeur, qui confirment les fait de l'accusa-<br />
tion. M. Picquoin, l'imprimeur primitivement compris dans<br />
les poursuites, fait une déposition embarrassée et très peu<br />
précise.<br />
M. Léo Taxil présente certaines explications et conteste<br />
les allégations des accusés.<br />
L'audience est levée à six heures et renvoyée à demain<br />
pour les réquisitions de M. l'avocat général Van Cassel, et<br />
les plaidoiries de M° Pouillet et de M° Georges Maillard,<br />
défenseurs des accusée.<br />
(Cour d'Assises de la Seine.—Présidence de M. le con-<br />
seiller Potier.—Audience du 28 mai.)<br />
· L'affaire de faux, suivie contre MM. Letouzey et Ané,<br />
éditeurs, sur la plainte de M. Leo Taxil, s'est terminée<br />
aujourd'hui devant la Cour d'Assises.<br />
M. l'avocat général Van Cassel soutient l'accusation ; il<br />
ne s'oppose pas à l'admission de circonstances atténuantes.<br />
M° Pouillet et Me Georges Maillard présentent la défense<br />
des accusés, qui sont acquittés.<br />
La partie civile est condamnée aux dépens.<br />
(Cour d'Assises de la Seine.—Présidence de M. le con-<br />
seiller Potier.—Audience du 29 mai.)—G. des T. 3o mai,<br />
I894.<br />
II.—PUBLISHING ON COMMIssIoN.<br />
It seems a method so fair and so simple. The<br />
author goes to a publisher and says : º Take my<br />
book and publish it. I will pay you for your<br />
trouble so much per cent. on all the sales.'' What<br />
can be fairer ?<br />
What, indeed ? Now, the following is an illus-<br />
tration of how the plan may work. This is an<br />
actual case which occurred yesterday.<br />
- First of all, the publisher demands payment in<br />
advance of the whole amount which, according to<br />
him, the book will cost.<br />
For himself, he pays the printer three or six<br />
months after the work is done. -<br />
If he takes six months'credit, he has the money<br />
to use for his own business purposes for this time.<br />
It is an addition to his working capital on which<br />
he calculates to make something like 2o per cent.,<br />
but, if it is not to be considered working capital,<br />
it is money on which he may get interest at, say,<br />
4 per cent.<br />
Next, he sends in an estimate lumping every-<br />
thing together, the said estimate being enormously<br />
overcharged. He explains that he has only<br />
allowed for binding of a certain number, He<br />
further notes, casually, that advertising is not<br />
included. But he points out that the sale will<br />
give the author so much for every hundred<br />
volumes sold.<br />
The luckless author falls into the trap, pays<br />
the money, calculates what he is to receive, and<br />
expects the returns. There will be so much<br />
profit, he thinks : he cannot lose anything. Alas !<br />
He knows nothing : he actually forgets the adver-<br />
tising. There will be a tremendous bill on that<br />
account. And he forgets the corrections, and the<br />
remaining copies will have to be bound. Then<br />
there are the illustrations. Finally, the author,<br />
even when the whole edition has gone, will find<br />
himself a loser to the tune of a hundred pounds<br />
Ol" SO .<br />
In the case before us, the cost of production was<br />
overcharged by about 83o. The author stood to<br />
lose 87O on the most favourable result, viz., the<br />
sale of the whole edition.<br />
The publisher's profit would stand as follows :<br />
Overcharge of production s£3O O O<br />
Interest on money advanced (say)... 3 O O<br />
@ @ @ • • • • • • • • e<br />
Commission on sales .................. 23 O O<br />
Overcharge on binding the rest of<br />
the edition ........................... 3 O O<br />
Overcharge on advertisements<br />
reckoned on the same scale ...... 8 O O<br />
Illustrations overcharge on same<br />
scale ................................ I O O O<br />
Overcharge on corrections ............ 5 O O<br />
Whole profit ............ 4282 o o<br />
The reader will please observe these figures.<br />
Remark that, if not one single copy sells, the<br />
publisher makes 86o by the job, and the whole<br />
by secret profits !<br />
And yet we are accused of " attacking pub-<br />
lishers " when we expose these tricks !<br />
How, then, is an author to publish on commis-<br />
sion ? He must get advice from the Society on<br />
the proper firm to employ. He must then have<br />
<br />
<br />
## p. 37 (#51) ##############################################<br />
<br />
THE AUTHOR.<br />
37<br />
an estimate showing the exact details on every<br />
point. This, with the agreement proposed, he<br />
must submit to the consideration of the secre-<br />
tary.<br />
# the publisher refuses to furnish the details,<br />
there is but one inference to be drawn.<br />
Meantime, let it be distinctly understood, when<br />
estimates are sent in, that the Society can get the<br />
work done at the prices given in the “Cost of<br />
Production,” with the change in the item of bind-<br />
ing, as advertised every month in the Author.<br />
III.-CANADIAN COPYRIGHT.<br />
Since the last article appeared in the Author on<br />
Canadian copyright, certain papers have been<br />
forwarded to the Society by the Secretary of State<br />
for the Colonies. The Society has taken the<br />
opinion of counsel on the papers.<br />
Mr. William Oliver Hodges, of 3, Paper-<br />
buildings, Temple, E.C., barrister, and Mr. G.<br />
Herbert Thring, secretary to the Society, have<br />
been appointed by the committee as delegates to<br />
attend the meetings of the Copyright Committee<br />
alluded to in the last number. The first meeting<br />
was held on Monday, June 25. A statement of<br />
what passed at this meeting will be printed,<br />
together with counsel's opinion on the papers on<br />
Canadian copyright, in next month's Author.<br />
IV.-AMERICAN COPYRIGHT.<br />
The Speaker, in recently reviewing an American<br />
book, said: “This book is twenty years old in<br />
America, and what is stated to be its fifth edition<br />
is now brought over here to be sold, having been<br />
printed and copyrighted in America by the<br />
American publisher, and then again copyrighted<br />
by him here, by entry at Stationers' Hall, as the<br />
liberal English law allows him to do. By the<br />
unfairly unequal American law—drafted and<br />
passed so as to be unfairly unequal—it is<br />
impossible for a book printed in England to be<br />
similarly copyrighted in the United States, for it<br />
must be first printed there too. Therefore this<br />
book is one of those by which the Yankee cobbler<br />
manages to cut a whang out of our leather.”<br />
W.—LIBRARIES AND NOVELS.<br />
The following circulars were published in the<br />
Daily Chronicle of June 30. At the moment of<br />
going to press we have not yet received a copy,<br />
but it may be supposed that the text is accu-<br />
rately printed, and first, Messrs. Mudie's runs as<br />
follows:— - -<br />
Owing to the constantly increasing number of novels and<br />
high-priced books, and to the rapid issue of the cheaper<br />
editions, the directors are compelled in the interests of the<br />
business to ask publishers to consider the following<br />
suggestions:— - -<br />
I. That after Dec. 31, 1894, the charge to the library for<br />
works of fiction shall not be higher than 4s. per volume,<br />
less the discount now given, and with the odd copy as<br />
before. | -<br />
II. That the publishers shall agree not to issue cheaper<br />
editions of novels, and of other books which have been<br />
taken for library circulation, within twelve months from the<br />
date of publication.<br />
The directors have no wish to dictate to the publishers,<br />
but, in making these suggestions, they point out the only<br />
terms upon which it will be possible in the future to buy<br />
books in any quantity for library use. - -<br />
The terms of Messrs. Smith and Son’s circular<br />
are these :— -<br />
For some time past we have noted with concern a great<br />
and increasing demand on the part of the subscribers to our<br />
library for novels in sets of two and three volumes.<br />
To meet their requisitions, we are committed to an expen-<br />
diture much out of proportion to the outlay for other kinds<br />
of literature.<br />
Most of the novels are ephemeral in their interest, and<br />
the few with an enduring character are published in cheap<br />
editions so soon after the first issue that the market we for-<br />
merly had for the disposal of surplus stock in sets is almost<br />
lost.<br />
You may conceive that this state of matters very seriously<br />
reduces the commercial value of the subscription library.<br />
We are therefore compelled to consider what means can be<br />
taken to improve this branch of our business. As a result<br />
of our deliberations, we would submit for your favourable<br />
consideration :- -<br />
(1) That after Dec. 31 next the price of novels in sets<br />
shall not be more than 4.s. per volume, less the discount now<br />
given, and with the odd copy as before. You will please<br />
observe that the date we name for the alteration of terms is<br />
fixed at six months from the end of this current month, in<br />
order that your arrangements may not be affected by the<br />
suggested alterations. - -<br />
(2) In respect of the issue of the cheaper editions, and the<br />
loss to us of our market for the sale of the best and earlier<br />
editions of novels and other works, through their publication<br />
in a cheaper form before we have had an opportunity<br />
of selling the surplus stock, we propose that you be so good<br />
as to undertake that no work appear in the cheaper form<br />
from the original price until twelve months after the date of<br />
its first publication. -<br />
The libraries, certainly, have a perfect right to<br />
name their own price within recognised bounds of<br />
fairness for a form of book which only exists for<br />
them. The price now proposed is, according to<br />
the Chronicle, 4s. a volume, discount and odd<br />
volume to remain as they are, i.e., 5 per cent.<br />
discount and twenty-five as twenty-four. This<br />
means 3s. 8d., within a very tiny fraction, per<br />
volume, or I Is. a copy. +<br />
The former price was not fixed; it varied with<br />
the library and with the house. If we take it at<br />
an average of 5s. a volume, with discount and<br />
the odd copy we have an average price of a little<br />
under I 4s. Let us suppose that there is a<br />
difference under the new tariff of 3s. a copy—a<br />
loss of 3s. a copy. , - . " -<br />
This loss must be met by the author as well as<br />
<br />
<br />
## p. 38 (#52) ##############################################<br />
<br />
38<br />
THE AUTHOR.<br />
the publisher. It can be met by changing the<br />
royalty to that extent. The advertised price of<br />
31s. 6d. has, in this case, nothing at all to do<br />
with the question, because the circulating<br />
libraries alone need be considered.<br />
The problem is therefore very simple. Given<br />
a reduction of 3s. a copy, how is that reduction to<br />
be met by the author P<br />
Clearly, by reducing the royalty by half that<br />
amount.<br />
Thus the reduction being by one-fifth the<br />
former price the publisher and the author must<br />
each bear the loss of one-tenth.<br />
Or the royalty would be thus adjusted:<br />
Suppose the author had a royalty of 6s. a copy,<br />
i.e., a fraction on the assumed price of one-third.<br />
It would now have to be 6s. less one-tenth the<br />
former price, i.e., 6s. less one-tenth of 15s., or 6s.<br />
less Is. 6d., i.e., 4s. 6d.<br />
Bow would this work out P<br />
An edition of IOOO copies costs nearly £200,<br />
and can be produced for less. It would, under<br />
the new tariff, sell for £550. The clear profit is,<br />
therefore, 3350.<br />
The author's share at 4s. 6d. a copy is 3225.<br />
The publisher's share would be £125.<br />
The editor will be very glad to receive<br />
suggestions and opinions on the above.<br />
WI.-AN IMPORTANT CASE.<br />
The reserved judgment of the Court of Appeal<br />
delivered by Lord Justice Lindley, reversing -<br />
the decision of Mr. Justice Stirling in the<br />
“Living Pictures” case, involved a point of great<br />
importance and interest in the law of copy-<br />
right. Herr Hanfstaengl, who is a German Art<br />
publisher, brought two actions asking for injunc-<br />
tions to restrain the directors of the Empire<br />
Palace Company Limited and the proprietors and<br />
publishers of the Daily Graphic from infringing<br />
his copyright in certain pictures. In the former<br />
case he complained that his pictures were repro-<br />
duced in the form of tableaua vivants upon the<br />
stage of the Empire Theatre, but Mr. Justice<br />
Stirling held that the representations of these<br />
pictures on the stage by means of living actors<br />
were not an infringement of the plaintiff’s copy-<br />
right, and that decision was affirmed by the Court<br />
of Appeal in February last. In the case of the<br />
Daily Graphic, the complaint was that accounts<br />
were published in that paper of the represen-<br />
tations at the Empire Theatre, which were illus-<br />
trated by sketches taken by artists who attended<br />
the theatre for that purpose. Although the<br />
newspaper illustrations were sketched from the<br />
living figures employed in the representations on<br />
the stage, the plaintiff contended that they were<br />
copies of the designs of his original pictures, and<br />
therefore were infringements of his copyright.<br />
Mr. Justice Stirling adopted that view, and<br />
granted an injunction restraining the proprietors<br />
and publishers of the newspaper from printing<br />
publishing, selling, or offering for sale, or other<br />
wise disposing of, any copies or colourable<br />
imitations of the copyright pictures of the<br />
plaintiff. From that decision the defendants<br />
have successfully appealed, and judgment was<br />
directed to be entered for them with costs both<br />
of the appeal and of the application in the court<br />
below. The plaintiff based his claim for pro-<br />
tection on the International Copyright Act of<br />
1886 and the Order in Council thereunder of the<br />
28th Nov. 1887, and on the English Copyright<br />
Act of 1862, and it is highly satisfactory that,<br />
alike on the consideration of the facts and circum-<br />
stances, and of the law as it has been laid down<br />
and is applicable to them, the Court of Appeal<br />
has unanimously determined that the plaintiff<br />
has suffered no wrong which these statutes<br />
were intended to redress, and that he is not<br />
entitled to the protection which he claimed. Lord<br />
Justice Lindley cited and adopted the definition<br />
long ago laid down by the late Mr. Justice Bayley<br />
of a “copy” as that which so closely resembles<br />
the original as to convey the same idea as that<br />
created by the original. Both Lord Justice Lopes<br />
and Lord Justice Davey, in the brief judgments<br />
in which they assented to that of Lord Justice<br />
Lindley, quoted with approval this definition;<br />
and, tried by that test, it could not be reasonably<br />
suggested that the rough sketches in the news-<br />
paper of the tableaua vivants at the Empire were<br />
copies of the original pictures of the plaintiff, and<br />
were calculated to injure his rights or depreciate<br />
the value of the original pictures. The learned<br />
Lord Justice emphatically declared that neither<br />
intentionally nor unintentionally, neither directly<br />
nor indirectly, had the artist of the Daily Graphic<br />
copied in the correct sense of the term the plain-<br />
tiff's pictures so as to infringe his copyright in<br />
them. He had not in the slightest degree repro-<br />
duced, or attempted to reproduce, the artistic<br />
merits and beauties of the original pictures, which<br />
indeed, he had never seen. The whole intention<br />
of the sketch was to give a rough and ready<br />
impression of the representations at the Empire<br />
Theatre, and there was no design of making gain<br />
by a colourable imitation or reproduction of the<br />
plaintiff's pictures. The court founded its<br />
decision on broad grounds and on a wide view of<br />
the aspects of the case and of the law. “Copy-<br />
right law and patent law,” said Lord Justice<br />
Lindley, “conferred monopolies on individuals<br />
in certain respects, thereby preventing people from<br />
doing that which otherwise it would be lawful for<br />
<br />
<br />
## p. 39 (#53) ##############################################<br />
<br />
THE AUTHOR.<br />
39<br />
them to do, and they were designed to insure to<br />
those protected the enjoyment of the advantages<br />
of their own abilities when these took the form of<br />
pictures, designs, inventions, and so forth. So<br />
far as they did this, and did this only, they<br />
were just and right, but they were not to be made<br />
the instruments of oppression and extortion.”<br />
This sound principle, will commend itself to every<br />
reasonable and fair-minded judgment.—Times.<br />
g- - -<br />
THE AUTHORS' CLUB,<br />
I.-AT HOME.<br />
N the 3oth ult., at 4 o’clock in the afternoon,<br />
() the Authors’ Club were “at home * to a<br />
select number of guests of both sexes.<br />
In spite of inclement weather and frequent<br />
showers of rain the rooms were crowded with<br />
literary and artistic people. No doubt the pro-<br />
longed inclemency of the elements had hardened<br />
the heart against its dangers.<br />
Mr. Oswald Crawfurd, C.M.G., the chairman of<br />
the club, was present to welcome the arrivals,<br />
and he was seconded by Lord Monkswell, Mr.<br />
Walter Besant, and Mr. H. R. Tedder, the other<br />
directors. Lady writers were very well repre-<br />
sented, Mrs. W. K. Clifford, Madame Sarah<br />
Grand, the Misses Hepworth Dixon, Mrs. Craigie,<br />
Mrs. Humphrey Ward, Mrs. Croker, Mrs. Hodgson<br />
Burnett, and Miss Helen Mathers being among<br />
those present. ..at<br />
The meeting was a success, and no doubt the<br />
club will repeat the gathering in the winter in the<br />
same or some other similar way.<br />
Mr. Hall Caine has joined the Board of<br />
Directors, --<br />
II.-IN NEW YORK.<br />
At the Authors Club of New York the<br />
following gentlemen were in May elected<br />
honorary members:—Alphonse Daudet (France),<br />
Maartin Maartens (Holland), Maeterlinck (Bel-<br />
gium), Walter Besant (Great Britain).<br />
*- - --"<br />
-- - -,<br />
THE SOCIETY OF AUTHORS,<br />
BEPORT of DINNER, 3 IST MAY, 1894.<br />
HE annual dinner of the Society of Authors<br />
T was held last night at the Holborn Res-<br />
taurant, Mr. Leslie Stephen presiding.<br />
The following is the list of the guests:<br />
E. A. Armstrong John Bumpus<br />
Mrs. Armstrong Miss Marie Belloc<br />
Oscar Browning Walter Besant<br />
WOT. W.<br />
Mrs. Walter Besant<br />
F. H. Balfour<br />
The Rev. Prof. Bonney<br />
W. H. Besant,<br />
Mackenzie Bell<br />
Poulteney Bigelow<br />
Mrs. Brightwen<br />
F. G. Breton<br />
Mrs. Oscar Beringer<br />
James Baker<br />
C. F. Moberley Bell<br />
Rev. Canon Bell, D.D.<br />
Rev. J. B. Baynard<br />
A. W. A. Beckett<br />
Thos. Catling<br />
Mrs. W. K. Clifford<br />
Miss K. M. Cordeaux and<br />
Guest<br />
Edward Clodd<br />
Miss Roalfe Cox and Guest<br />
Mrs. Craigie<br />
Mrs. McCosh Clarke<br />
Lieut.-Col. J. R. Campbell<br />
Miss Carpenter<br />
Sir. W. T. Charley<br />
R. Copley Christie<br />
Miss E. R. Chapman<br />
W. Morris Colles<br />
Mrs. Colles<br />
P. W. Clayden (President<br />
Institute of Journalists)<br />
Egerton Castle, F.S.A.<br />
Miss Lily Croft<br />
Professor Lewis Campbell<br />
Miss B. Chambers and<br />
Guest<br />
Moncure Conway<br />
Mrs. Custer<br />
E. H. Cooper<br />
H. Cust, M.P.<br />
John Davidson<br />
C. F. Dowsett<br />
Mrs. Dambrill Davies<br />
Arthur Dillon<br />
Austin Dobson<br />
A. Conan Doyle<br />
A. W. Dubourg<br />
Gerald Duckworth<br />
Miss Doyle<br />
Miss Duckworth<br />
Daily Graphic<br />
Daily News<br />
Daily Telegraph,<br />
Daily Chronicle<br />
A. Symons Eccles<br />
W. L. Ellis<br />
Mrs. Edmonds<br />
Mr. Edmonds<br />
Mrs. Walter Ellis<br />
Miss Agnes Fraser<br />
Mrs. Gerard Ford<br />
Prof. Michael Foster<br />
S. M. Fox<br />
Mrs. Gordon<br />
Henry Glaisher<br />
Alfred Giles (President In-<br />
stitute of Civil Engineers)<br />
Edmund Gosse<br />
Mrs. Aylmer Gowing<br />
J. C. Grant<br />
Mrs. Grant<br />
Dr. L. Garnett<br />
Miss Goodrich-Freer<br />
Miss H. F. Gethen<br />
Mrs. Gamlin<br />
Francis Gribble<br />
Mme. Sarah Grand<br />
Mrs. Spencer Graves<br />
Maj.-Gen. Sir F. J.<br />
smid, C.B.<br />
J. A. Goodchild<br />
A. P. Graves<br />
Miss Mabel Hawtrey<br />
Holman Hunt<br />
Bernard Hamilton<br />
Dr. Vaughan Harley<br />
E. G. Hobbes<br />
Miss W. Hunt<br />
Rev. W. Hunt<br />
Miss Hargreaves<br />
H. Holman<br />
F. de Haviland Hall<br />
Mrs. Wyndham Hill<br />
Clive Holland<br />
Comtesse Hugo<br />
Dr. Sophia Jex-Blake<br />
C. T. C. James<br />
Miss Kenealy<br />
A. C. Kenealy<br />
Rev. Dr. S. Kinns<br />
Lord Kelvin<br />
Royal Society)<br />
C. B. Roylance Kent.<br />
C. A. Kelly.<br />
Mrs. Lynn Linton<br />
Mrs. Long<br />
A. H. N. Lewers<br />
Sidney Lee<br />
Edmund Lee<br />
John Lane<br />
Sidney Low (St. James's<br />
Gazette)<br />
W. Meredith<br />
Mrs. W. Meredith • '<br />
Rev. C. H. Middleton-<br />
Wake<br />
George Moore<br />
Mrs. Morgan<br />
Miss A. A. Martin<br />
Norman Maccoll<br />
Morning Post<br />
S. B. G. McKinney ,<br />
Miss Helen Mathers and<br />
Guest<br />
Cosmo Monkhouse<br />
Miss Moss<br />
Gold-<br />
(President<br />
W. E. Norris<br />
Henry Norman<br />
The Lord Bishop of Oxford:<br />
John Warden Page<br />
Stanley Lane Poole<br />
Arthur Paterson<br />
Miss E. C. Pollock<br />
Sir F. Pollock, Bart., LL.D.<br />
Lady Pollock , -.<br />
D. H. Parry -<br />
Pall Mall Gazette<br />
The Queen<br />
W. Fraser Rae<br />
C. F. Rideal<br />
<br />
<br />
## p. 40 (#54) ##############################################<br />
<br />
4O<br />
THE AUTHOR.<br />
Miss Ross<br />
R. Sisley<br />
Percy Spalding<br />
Douglas Sladen<br />
T. Bailey Saunders<br />
Mrs. Steel<br />
Leslie Stephen<br />
Mrs. Leslie Stephen<br />
David Stott<br />
H. G. Sweet<br />
The Standard<br />
S. S. Sprigge<br />
M. H. Spielmann.<br />
Howard Swan<br />
Rev. Prof. W. W. Skeat,<br />
LL.D.<br />
Ballard Smith<br />
Colonel Sutherland<br />
J. Ashby Sterry<br />
The Times<br />
T. S. Townend<br />
G. H. Thring<br />
Mrs. G. H. Thring<br />
Sir Henry Thompson<br />
A. W. Tuer<br />
W. Moy Thomas<br />
Mrs. F. Moy Thomas<br />
Mrs. Tweedie<br />
E. Maunde Thompson (Chief<br />
Librarian British Museum)<br />
Miss Traver -<br />
Miss Tabberner -<br />
Miss E. Underdown<br />
John Underhill<br />
Mrs. J. Owen Visger<br />
Rev. C. Voysey<br />
Westminster Gazette<br />
Hagberg Wright<br />
Library)<br />
A. P. Watt,<br />
Theodore Watts<br />
W. J. Walsham<br />
Mrs. Woolastom White<br />
Miss B. Whitby<br />
W. H. Wilkins<br />
S. F. Walker<br />
Colonel Sir Charles W.<br />
Wilson, K.C.M.G.<br />
Arnold White<br />
Dr. Wallace<br />
P. F. Walker<br />
I. Zangwill<br />
(London<br />
The Chairman first proposed the health of the<br />
Queen.<br />
The Chairman next proposed “The Society of<br />
Authors.” He said: I have now to undertake a<br />
more difficult task. It is not that I have any<br />
doubt that you will receive with sympathy the<br />
toast which I am about to propose, for I am<br />
going to ask you to drink your own health. But,<br />
however much you may approve the Society of<br />
Authors, I think it highly probable that you will<br />
doubt whether I am the proper person to propose<br />
it. As a matter of fact, I not only doubt,<br />
but am rather convinced that I am a highly<br />
improper person to do so. I will, however, say<br />
in self-defence that when I was first asked to<br />
accept this honourable position, I declined it. I<br />
was foolish enough (it is inconceivable that any-<br />
one could have been so foolish at my time of life)<br />
to give a reason, and of course my reason not<br />
only broke down, but recoiled upon myself in the<br />
way that reasons always will recoil. (Laughter.)<br />
My reason is, that I had not the honour to be a<br />
member of this Society, and it puts me in rather<br />
an uncomfortable dilemma, because the question<br />
naturally occurs, why am I not a member of the<br />
Society P I feel a great difficulty in answering it.<br />
I could not say, what would have been conclusive,<br />
that I disapproved of the Society on high moral<br />
grounds. (Laughter.) In the first place, it would<br />
not have been polite, and in the second place, it<br />
would not have come so near the truth as even<br />
those deviations which I generally allow myself<br />
will permit. I myself feel that my real reason is<br />
one which I must decline to confide to you, and I<br />
must be content to give you in imaginary reason<br />
which will answer for the present occasion. I<br />
will suggest as, at least, a possible reason, that<br />
in the first place I do not like to dwell upon my<br />
own mental defects and moral obliquities; I am<br />
attached to them, but do not like to intrude<br />
them upon others. I would suggest perhaps a<br />
more plausible, but still, perhaps, not the true,<br />
reason—namely, that I am known to most of you,<br />
not so much as an author as an editor. Now,<br />
you are aware that an editor is a kind of equivocal<br />
being, and that he resembles the bat in AEsop's<br />
fable, who was equally at war with the birds and<br />
with the beasts. The birds, of course, find<br />
their analogue in the author who soared into the<br />
literary heavens; as for the beasts, perhaps I had<br />
better not attempt to specify what would corre-<br />
spond to them. (Laughter.) Now, as an editor, I<br />
know what view the authors take of me. I<br />
remember a long time ago receiving a frank con-<br />
fession from a young gentleman (I hope he is<br />
wiser now) who had written a tragedy in five<br />
acts upon a subject which he had discovered in<br />
course of his researches into history. I believe it<br />
was Mary Queen of Scots (I may mention that I<br />
am not referring to Lord Tennyson)–(laughter)<br />
—and when I declined to publish this tragedy<br />
in the next number of the magazine which I<br />
was then editing, the author informed me that my<br />
refusal was due to a base jealousy, which was not<br />
surprising, as my own attempts to rival Shake-<br />
speare had never got into print. He was kind<br />
enough to add, that there was nothing to be<br />
ashamed of in this, because, he said, my occupa-<br />
tion was such as would have deadened any sense<br />
of justice or fair play, even in an angel, and he<br />
had no reason to believe that my qualities had<br />
ever been angelic. Now you will understand,<br />
that the class of persons who is regarded in this<br />
way by the unthinking author is apt to see the<br />
weaknesses of authors. I occasionally became<br />
aware of their little vanities, of their self-illusions,<br />
of their conviction that they are the objects of<br />
the demoniacal malignity of a clique of critics.<br />
I must add that I should have been a much<br />
harder hearted person than I believe I am, if I<br />
had not also learnt to see a great deal of the<br />
hardships of a literary career, and to sympathise<br />
with those who suffer. I had the honour to<br />
succeed to the cushion occupied by Thackeray<br />
before me, and I have found that some of the<br />
thorns of which Thackeray spoke are still left in<br />
it. I had to read letters from the decayed lady<br />
who had a widowed mother or a small family<br />
dependent upon her exertions, and who tried to<br />
brush up her old recollections of French, and<br />
expected to make a living by translating from<br />
that recondite language. There was something<br />
ridiculous, but a great deal more that was<br />
pathetic in such letters. I have had to<br />
<br />
<br />
## p. 41 (#55) ##############################################<br />
<br />
THE AUTHOR. 41.<br />
deal with many of those people who in the<br />
last century would have been ridiculed and<br />
taunted with their poverty as occupants of<br />
Grub-street. When I had to cut down contribu-<br />
tions from such gentlemen to about a third of<br />
the length of that they had sent me, I used to<br />
feel that I was taking a crust from a beggar and<br />
scraping off the butter, and yet my action, how-<br />
ever cruel it might appear, was necessary, and<br />
was received on the whole with an amount of<br />
common sense and consideration for which I<br />
Ought to be grateful. I do not know whether<br />
I ever snuffed out a heaven-born genius. If I<br />
did, I am very sorry; but I snuffed him out so<br />
effectually that he has never been able to make<br />
any protest. People are apt to fall on the<br />
critics who extinguished Keats and poo-poohed<br />
Wordsworth. We are quite clear that we are<br />
much wiser, and yet I know one or two men,<br />
whom every one now honours, who have had to<br />
go through a long probation of disregard and<br />
contempt. I must confess that, with all respect<br />
to the critics of to-day, I do not think they<br />
are infallible, and I cannot help fancying it<br />
possible that some fifty years hence someone<br />
may point out how wrongly they have acted to<br />
the rising geniuses whose names none of them<br />
know at the present moment. I have only re-<br />
ferred to this to show that I have seen some<br />
of the seamy side of the author's profession,<br />
and I claim to have sympathised with their<br />
sufferings, and to be very anxious to see the pro-<br />
fession raised by every possible means. There<br />
are various opinions as to the best way in which<br />
that could be done; some people are of the<br />
opinion that authors ought to be paid for their<br />
writings; some are of the opinion that every<br />
promising aspirant should receive a good salary<br />
from Government, and that it should be left to<br />
their sense of honour to turn out whatever work<br />
seemed to them best. I am of the opinion that,<br />
considering how pleasant an occupation writing<br />
is, and how valuable it is to read what we write,<br />
perhaps the right plan would be for a future<br />
Chancellor of the Exchequer to lay a heavy tax<br />
on the luxury, and to make everybody who is<br />
impertinent enough to suppose that what he said<br />
would be of value to the public, pay for it. I<br />
won’t, however, argue the question, because I am<br />
afraid that I should not have either a sympa-<br />
thetic or impartial audience. I have no doubt<br />
that authors will be paid, and will want to be<br />
paid more for some years to come, and I also feel<br />
that there will always be more or less of that<br />
difficulty which naturally occurs now in the rela-<br />
tions between authors and publishers. The<br />
author is a man of genius, sometimes; he is<br />
always sensitive ; he is apt to place an excessive<br />
WOL, W.<br />
value upon the children of his own brain ; and if<br />
his work fails he is rather inclined to throw the<br />
blame upon any other cause than his own stupi-<br />
dity. The author is apt to be one of those<br />
persons to whom a balance-sheet is a source of<br />
hopeless bewilderment; he is rarely a man of busi-<br />
ness; while on the other hand the publisher is a<br />
man of business, and has that peculiar talent in<br />
which all men of business are so conspicuous, the<br />
talent for proving that he is always losing by his<br />
business, and yet of living as if his business were<br />
distinctly profitable; and very often he has had<br />
to console himself for the losses which he made<br />
by speculating in unsuccessful literature by<br />
accepting some of the profit made out of the<br />
brains of men of genius. Undoubtedly such a<br />
relation must be a very difficult one, and so far<br />
as this Society endeavours to put it on a better<br />
basis I most heartily and cordially sympathise<br />
with the work which it is doing. Undoubtedly<br />
it is desirable that when bargains are made, and<br />
when the author is for the time in partnership<br />
with the publisher, they should distinctly under-<br />
stand the terms on which they come together,<br />
and that they should take advantage of the<br />
experience of their comrades in making terms in<br />
such a form that it is not likely to lead to mis-<br />
understandings, and that honourable men on<br />
both sides may be brought together and put<br />
in such a position that if any misunderstanding<br />
arise it must be a mere accident, and not<br />
involve any disagreeable suspicion on either<br />
side. That is, I believe, a state of things which<br />
you are endeavouring to bring about, and there-<br />
fore, as I have said, I most cordially wish you<br />
success. Mr. Stephen coupled the toast of “The<br />
Society” with the name of Sir Frederick Pollock.<br />
In responding, Sir Frederick Pollock said: My<br />
Lord Bishop, ladies and gentlemen, the first<br />
thing which I must express in the name of the<br />
Society is the great pleasure which we all feel in<br />
having Mr. Leslie Stephen as our chairman. If<br />
there is to be found a worthy representative of<br />
the higher art of literature I think Mr. Leslie<br />
Stephen is that representative, but as Mr.<br />
Stephen is a very old friend of mine, and I am<br />
speaking not in my personal capacity, but in the<br />
name of the Society, it would be unfair to take<br />
the words out of the mouth of Mr. Gosse, who will<br />
have something to say on the subject. At present<br />
the question of Canadian copyright is the most<br />
urgent matter under our notice, and within a few<br />
weeks a joint committee will probably be formed,<br />
representing this Society, the Copyright Associa-<br />
tion, the Iondon Chamber of Commerce, and<br />
possibly other bodies, and I hope that that com-<br />
mittee will be able to do some useful work in<br />
strengthening the hands of the home authorities.<br />
F 2<br />
<br />
<br />
## p. 42 (#56) ##############################################<br />
<br />
42 THE AUTHOR.<br />
Some people think that our Society encourages<br />
nothing but light literature, and that we look to<br />
nothing but a rapid sale of our volumes. I will<br />
simply observe that I have here at my right hand<br />
one of our most serious writers of literature, the<br />
Bishop of Oxford. He has shown us how litera-<br />
ture in the highest sense can be dealt with. The<br />
Bishop is one of those whom I was proud to count<br />
among my colleagues for a few years at Oxford.<br />
He has done more than write a classical history;<br />
he has shown us what history is and how history<br />
ought to be treated. Mr. Conan Doyle has shown<br />
us the legitimate use of history for the purposes<br />
of (what is called) lighter literature. The<br />
Society will doubtless join me in the hope that<br />
he will lose no time in giving us another “White<br />
Company.” I ask you, therefore, to couple the<br />
toast of Literature with the name of the Bishop<br />
of Oxford and that of Mr. Conan Doyle.<br />
The Bishop of Oxford, in responding, said:<br />
“Mr. Stephen, ladies and gentlemen, I will not<br />
waste your time by telling you how very grateful<br />
I am for the kind reception given to me. When<br />
I was told last week that it would be my duty to<br />
return thanks on behalf of the serious side of<br />
literature, I began to think what I should say.<br />
In the first place, I was not quite sure what<br />
serious literature was, and in the second<br />
place, I am not quite sure whether my<br />
writings are such as to entitle me to reply<br />
to the toast. I have written many hundred-<br />
weights of books, and have been frequently asked<br />
how I acquired my “style.’ I reply by saying I<br />
do not know that I have any special style; but, if<br />
I had, I acquired it by writing two sermons every<br />
week. I only wish that I could have answered<br />
better for the great society which I have been<br />
called upon to represent.” -<br />
Mr. Conan Doyle said: “While I had rather<br />
that it had been in other hands than mine, I am<br />
still glad that fiction should be represented on<br />
this occasion. It is an honour, and fiction is<br />
accustomed to be more popular than honoured.<br />
Our Colleagues of poetry, of science, and of<br />
history have made their way as high as the House<br />
of Peers and the Privy Council. But fiction has<br />
always been the Cinderella of the family. When<br />
her fair sisters go to the prince's ball, she remains<br />
behind with her wicked stepmother the critic.<br />
But she has her compensation. She still has that<br />
good old fairy godmother, and her name is Imagi-<br />
nation. With her aid, it is still as easy as ever to<br />
turn the pumpkin into the carriage and the white<br />
mice into steeds. One might even do more.<br />
With her help one might imagine that all is well<br />
with fiction, that among the successful business<br />
men from whom the peerage is recruited a place<br />
had been found also for a Scott, a Dickens, or a<br />
Thackeray; or, to come to more modern instances,<br />
that the State had shown its recognition of work<br />
done by such men as Charles Reade in the past,<br />
or Walter Besant in the present. We are periodi-<br />
cally informed by the papers, which are usually<br />
owned and edited by knights and baronets, that<br />
State recognition does not increase the prestige<br />
of the literary man. It is true. It does not<br />
increase the prestige of the author. But it<br />
enormously increases the prestige of the State.<br />
Still, come what may, we have our own kingdom<br />
of fiction, and in it we can all be kings and<br />
queens. But that kingdom has, in this country,<br />
well defined boundaries. We know how these<br />
frontiers run. To the north we are bounded by<br />
the Glasgow baillie, to the south the young ladies'<br />
seminary, and then to the east and west, of course<br />
by the two great circulating libraries. Still, it would<br />
be idle to deny that within these limitations there<br />
is room for plenty of good work. And our frontiers.<br />
are enlarging. Within the last ten years several<br />
noble novels have come from the pens of men and<br />
women which would have been, I think, impos-<br />
sible a decade earlier. It is becoming year by<br />
year more understood that it is not the indication<br />
of vice, but its glorification, which is objection-<br />
able, and that the most immoral thing which can<br />
befall literature is that it should be entirely<br />
divorced from life and truth. Fiction is at<br />
present in a state of unrest and fermentation,<br />
Some critics, I know, say that the old tree is<br />
barren, but it seems to me that I see green shoots<br />
on all her branches. I believe from my heart<br />
that the present generation will uphold the<br />
glorious inheritance which has come down to us,<br />
and will pass it on to our posterity in a manner<br />
which shall not be unworthy.<br />
Mr. EDMUND GossE.—Sir Frederick Pollock,<br />
my Lords, ladies, and gentlemen. —It is my<br />
pleasant duty to ask you to fill your glasses, and<br />
drink to the health of our chairman, Mr. Leslie<br />
Stephen. It Ought not, I think, to be difficult to<br />
speak appropriately of one who has himself<br />
spoken so wisely and so genially of a host of<br />
others. No one here to-night but must feel a<br />
debt of gratitude for some gift or other of Mr.<br />
Leslie Stephen's, But, as the Society of Authors,<br />
we welcome him among us with unusual cheer-<br />
fulness, because he is one of the prodigal fathers<br />
of our society. He is one of the very few leading<br />
men of his generation who have always looked<br />
out of window when anybody spoke of the Society<br />
of Authors. He has been not with us, and there-<br />
fore against us. He is now with us, and will for<br />
the future always be for us. We rejoice over Mr.<br />
Leslie Stephen more than over ten celebrities who<br />
have been perfectly kind to us from our foundation.<br />
If we regard the literary career of our chair-<br />
<br />
<br />
## p. 43 (#57) ##############################################<br />
<br />
THE AUTHOR.<br />
43<br />
man of to-night, we are struck, I think, first<br />
of all, by the width and catholicity of his sym-<br />
pathies, and then by the curious fate which has<br />
driven him from one corner of the intellectual<br />
province to another. He has been an authority<br />
on mountaineering and on ethics, and alternately<br />
at home with the founders of deism and with the<br />
makers of dictionaries. He began literary life, I<br />
think, as one of those who, conscious of their<br />
unconfessed offences, voluntarily make them-<br />
selves excessively uncomfortable with penitential<br />
hard labour in the Alps. Flung from peak to<br />
peak, and picking himself up at last, more dead<br />
than alive, at the foot of a glacier, he decided in<br />
future to spend his hours in the shelter of a<br />
library. And there he began a new thing;<br />
there he took down book after book, and talked<br />
to us about them, not as one of the pedantic<br />
Sanhedrim, but easily, confidentially, penetra-<br />
tively. He was dragged out of his library to<br />
become editor of the Cornhill Magazine, and now<br />
a wider work of influence began.<br />
I think he must be a little moved to-night<br />
to see around him here not a few of those<br />
whom he marshalled and encouraged in the<br />
pages of that serial, then unquestionably the<br />
most purely literary magazine which has ever<br />
been issued in this country. It was in the<br />
capacity of a contributor to the Cornhill that<br />
my own acquaintance with our chairman began,<br />
just twenty years ago. It was quite a little<br />
close corporation, and there were always wel-<br />
come, before they were welcome elsewhere, many<br />
who are widely known to-day — Mr. Thomas<br />
Hardy, Mr. Norris, Mr Austin Dobson, Mr. Grant<br />
Allen, our lamented friend John Addington<br />
Symonds, you, Sir, yourself, and many whom I<br />
do not at this moment recall. And to these, one<br />
day in 1875, was added a new writer who signed<br />
himself R. L. S. I have a letter from our chair-<br />
man, written at that time, in which he says,<br />
replying to a question of mine, “The initials are<br />
not those of the Real Leslie Stephen, as a friend<br />
of mine suggests, but of a young Scotchman<br />
from Edinburgh, called Robert Louis Stevenson.”<br />
Everyone of these, I think I may boldly say,<br />
looks back to the patient encouragement, the<br />
cordial and tireless sympathy of the best of<br />
editors with genuine gratitude.<br />
In those early days, as many of us remember,<br />
and as he himself no doubt forgets, there was no<br />
one who laughed more gaily at the trivialities of<br />
biographical literature, or who less resembled Dr.<br />
Dryasdust. It is whispered to me that a letter<br />
exists in which Mr. Leslie Stephen repudiates with<br />
contempt the man who cares to know who any<br />
other man's grandmother was. Ah! the irony of<br />
fate | Some twelve years ago, he was called upon<br />
to undertake a colossal work, the very essence of<br />
which depends upon knowing everything about<br />
everybody’s grandmother, nay, more, upon being<br />
familiar with all those mysterious consangui-<br />
nities which we read on summer Sundays at the<br />
back of the church-door. Well, he took up this<br />
task, too, as he has taken up so many others, with<br />
perfect good-nature, with exhaustive erudition,<br />
with combined energy and patience, and we all<br />
know what he made of it. But now he is<br />
released at last, this weary Titan of National<br />
Biography. He has shaken off the cousins' sisters<br />
and the mother-in-law’s nieces' husbands of<br />
genius. He can come back to literature, and that<br />
is where we love to see him. We love to see him<br />
here, at the table of the Society of Authors, and I<br />
beg you all to join with me in testifying your<br />
satisfaction. Mr. Leslie Stephen!<br />
ar- - -s<br />
REAL AUTHORS,<br />
To the City Editor of the Pall Mall Gazette.<br />
SIR,-A paragraph-writer in this morning's<br />
press on the dinner of the Society of Authors is<br />
pleased to remark on the small proportion of<br />
“real authors” present. Apparently he does<br />
not mean to deny that (omitting all those who<br />
could be said in any sense to be officially present)<br />
such people as Mr. Austin Dobson, Mr. Morris,<br />
Mr. George Moore, Mrs. W. K. Clifford, Miss<br />
Helen Mathers, Mrs. (or Madame as the reporters<br />
will have it, I cannot think why) Sarah Grand,<br />
and so forth, are real authors, but only to be sur-<br />
prised that they were in a minority; in fact, he<br />
guesses that not more than one in three of the<br />
company was a well-known author.<br />
It may be well to point out that the Society of<br />
Authors exists for the benefit, not of those<br />
authors who have already made their reputation,<br />
and may be presumed able to look after their<br />
own interests, but of those who still have their<br />
reputation to make. It does not profess to be<br />
a club of literary celebrities. If a representa-<br />
tive gathering of the society did consist mostly<br />
of writers already well known, it might be a<br />
more brilliant assembly from the reporter's point<br />
of view, but the fact would only show that the<br />
society was failing in its proper work, and had<br />
ceased to be useful, or a centre of interest to<br />
those for whose sake it was founded. The<br />
society’s definition of a “real author’’ is a<br />
person who has written and published at least<br />
one book, or its equivalent. This is a much less<br />
ambitious definition than the commentator's, but<br />
I venture to think it more accurate.—Yours, &c.<br />
June I. F. POLLOCK.<br />
<br />
<br />
## p. 44 (#58) ##############################################<br />
<br />
44<br />
THE AUTHOR.<br />
AN AMERICAN MAGAZINE.<br />
HE President of the Century Company has<br />
been reading a paper on the methods and<br />
the production of the Century magazine.<br />
The paper contains certain facts which may be<br />
useful and instructive to ourselves, especially in<br />
the light of the fact that one or two American<br />
magazines, not for their cheapness, nor because<br />
they can be charged with a low standard of style<br />
and subject, can fairly boast that the circulation<br />
of each as a monthly actually represents by itself<br />
at least three times the circulation of all the<br />
English monthly magazines combined, excepting<br />
two or three; and that the circulation in this<br />
country alone, of one or two, is equal to the circu-<br />
lation of any three English magazines combined,<br />
still excepting these two or three. It is worth<br />
while, perhaps, to read this paper, and to attempt<br />
some explanation of what is certainly astonishing,<br />
and, except on the theory that the English maga-<br />
zines are written for the highest culture only—a<br />
theory which it would be difficult to maintain—<br />
extremely humiliating.<br />
The Century magazine contains 160 pages,<br />
making about thirty articles—long and short.<br />
There are, then, from 350 to 4oo articles every<br />
year. Out of this number about 175 are either<br />
poetry or fiction. The rest are historical, bio-<br />
graphical, of travel, of social matters, and miscel-<br />
laneous. It is found that fiction, even when a<br />
novel is produced by one of the foremost English<br />
or American writers of the day, does not seem to<br />
advance the circulation of the paper. Yet it<br />
keeps up the circulation which begins to drop<br />
when the fiction is weak or unattractive. This<br />
statement probably amounts to saying that<br />
general excellence in every branch must be main-<br />
tained or the circulation suffers. On the other<br />
hand, the most popular subject ever started by<br />
the Century was that of the Civil War, on which<br />
a series of papers appeared. This series caused<br />
the circulation to go up by leaps and bounds.<br />
It is found, next, that no American magazine<br />
has ever attained a popular success unless it<br />
was illustrated. In recognition of this fact, the<br />
Century has always paid the greatest attention<br />
to its illustrations, which are now the finest that<br />
can be procured. That is to say, the artistic branch<br />
demands now a very large part of the expenditure.<br />
So great is the outlay on illustrations, as well as<br />
contributions, that every number costs, before it<br />
goes to press, about £2OOO. Even if this includes<br />
the salaries of editors, managers, and clerks, the<br />
rent of offices and the service of distribution, it is<br />
evident that a very large capital is embarked in<br />
'an American magazine, and that the risk of a<br />
fall in the circulation means a possible loss of<br />
this large capital. This danger alone proves the<br />
necessity for the most unceasing watchfulness,<br />
the most intelligent apprehension of the subjects<br />
that the public like to read about, and the<br />
greatest care in finding the writers most capable<br />
of presenting those subjects. That artists and<br />
authors when engaged should be paid in pro-<br />
portion to the services they render, i.e., greatly in<br />
excess of what they have been accustomed to<br />
receive from journals of less circulation, is a<br />
natural result of increased interests and a larger<br />
property to defend and to advance.<br />
What is the circulation of American maga-<br />
zines P Of one it is said that it circulates 200,000<br />
in America and 30,000 in this country. Another<br />
is reported greatly to surpass this number in<br />
America, though its circulation is small in Great<br />
Britain; of two or three more it is said that they<br />
circulate over IOO,OOO in the States, besides having<br />
a small circulation in this country. Now, in<br />
America, our magazines are hardly ever seen; there<br />
are none on the bookstalls, either at the stations or<br />
in the hotels. Why does the American magazine<br />
come here P Why does not the English maga-<br />
zine go over there P. How comes it that while in<br />
a population of 60,000,000 some of their journals<br />
arrive at a circulation of 200,000, we find, in our<br />
own population of 37,000,000, without counting the<br />
I 5,OOO,OOO of Britons abroad and in the Colonies,<br />
our magazines crawling along with a circulation of<br />
2OOO to 20,000 P. We speak here of old-estab-<br />
lished magazines which, like those of America,<br />
are “serious,” that is, do not aim at popularity<br />
alone. There are monthly magazines here which<br />
appeal to popular tastes, and, without being<br />
necessarily unwholesome or sensational, do attain<br />
to a popularity which rivals that of the Americans;<br />
but those we do not here consider. Why is it, in<br />
short, that the old established and highly respect-<br />
able paper the Cheapside is sending out every<br />
month its ten thousand instead of its quarter of a<br />
million ?<br />
Among some of the causes are, perhaps, these :<br />
In the States, the editor—always a man of proved<br />
ability—is engaged to give his whole time, all his<br />
thoughts, all his ability, to the conduct of his<br />
paper. He has assistants, all of whom are<br />
engaged also to give to the paper their whole<br />
time and all their thoughts. In this country the<br />
editor too often does a great many other things;<br />
he has engagements which distract his attention;<br />
he does work of his own which absorbs him. The<br />
first essential for the successful conduct of a<br />
magazine seems to be that one man, at least,<br />
should think for it—think all day for it.<br />
Again, it has hitherto been considered enough<br />
for an editor to sit at his table and receive the<br />
contributions poured in upon him by every post,<br />
<br />
<br />
## p. 45 (#59) ##############################################<br />
<br />
THE AUTHOR.<br />
45<br />
to read them, reject most of them, and select a<br />
few. It is only quite recently that he has even<br />
begun the American method—to plan beforehand,<br />
to arrange what he will have for the next year,<br />
and for the year after, what fiction he will invite,<br />
what poetry he will invite, what special subjects<br />
he will treat, and, to be in touch with points of<br />
the day, what men will be best to treat them for<br />
him. One lesson for us would seem to be that<br />
the casual contributor by himself cannot be trusted<br />
to create a popular demand.<br />
Few of our magazines are illustrated. Is the<br />
absence of illustrations a cause of failure ? Some<br />
years ago a new illustrated monthly was started,<br />
in which the artistic element was treated most<br />
carefully. One knows not, with any certainty,<br />
how far this magazine failed or succeeded. But<br />
it has changed hands twice. Therefore good<br />
illustrations alone do not seem to bring success.<br />
Perhaps the English are not so keen after<br />
pictures as the Americans. Some English<br />
readers, certainly, do not like the photogravure<br />
processes with the broad black line all round<br />
which decorate the American page.<br />
As regards fiction, our magazines are apt to<br />
fall into one of two extremes; either, that is,<br />
they neglect and “starve” fiction, publishing<br />
poor weak stuff; or they sacrifice everything to<br />
fiction, running two or three serials and depending<br />
entirely on them for success. Fiction in a high<br />
class magazine must be of the best; but it must<br />
never be considered the only thing.<br />
Another lesson we may learn from the<br />
Americans. We have hardly yet got beyond the<br />
prejudice that the only serial in a magazine must<br />
be the novel. This is a very foolish prejudice,<br />
mischievous alike to the publisher of the magazine<br />
and to the author. For there are many books<br />
written every year—books of historical research,<br />
biographies, collections of verse, essays, travels,<br />
popular science, which, if first run through a<br />
magazine as serials, would attract thousands of<br />
readers, and give the book when published a far<br />
greater chance of success. At present the author<br />
has to be content, say, with a single edition of a<br />
thousand, or even 500 copies. If he expects any<br />
money he is disappointed. Perhaps he only expects<br />
general reputation or distinction. How much of<br />
either can he get from this mere mite of a circula-<br />
tion? One or two attempts in this direction have<br />
already been made—but tentatively. It is as if<br />
editors do not as yet recognise the fact that an<br />
extremely attractive serial may be made of a sub-<br />
ject not belonging to fiction at all. For instance,<br />
many volumes of poetry are run through various<br />
magazines first. I would run them through one<br />
magazine only. “Mr. Austin Dobson’s new<br />
volume of verse will be commenced in the January<br />
number of the New Year; it will run through<br />
twelve months, and will be published in volume<br />
form in November.” Would not such an an-<br />
nouncement be attractive P Or this: “Professor<br />
Dowden's new work on Shakespeare is nearly<br />
completed. It consists of twelve chapters, and<br />
is to run through twelve numbers of the Cheapside<br />
magazine; it will then be published in the<br />
autumn books of Messrs. Bungay.” Does any<br />
one pretend that the comparatively wide cir-<br />
culation of the magazine would not assist the<br />
author in disseminating his teaching and the<br />
publisher in afterwards distributing the book?<br />
The next point is the investment of large sums<br />
of money in the enterprise. This, no doubt, is<br />
risk; such risk as few publishers care to face.<br />
Yet, if one appeals to the great public there are<br />
but two ways: to hope for gradual recognition of<br />
work always good; or by a bid for popularity—<br />
immediate and wide-spread — by treatment of<br />
topics always fresh and interesting, and by wide<br />
advertisement. Both methods, however, mean<br />
the investment of money. g<br />
One more reason, perhaps, why our higher class<br />
magazines are not popular. Nearly all of them aim,<br />
more or less, at expounding and perhaps solving<br />
the many questions and problems of the day.<br />
Not, that is, the treatment of fresh topics, but<br />
the difficulties of the day. The articles are, as a<br />
rule, very well written; the American magazines<br />
do not seem to me, on the whole, nearly so well<br />
written as our own ; but if we take up the new<br />
numbers of any magazine of the better kind,<br />
what we find in it is too often the continuation<br />
or even the repetition of the daily and weekly<br />
leading article. If the editors would only con-<br />
sider that the same subject which we gladly<br />
read when treated in the Times of to-day and<br />
in the Spectator of next Saturday, will become<br />
wearisome when treated, without much new light<br />
or much new wisdom, in the monthly magazine of<br />
the week after next, they would perhaps refuse<br />
certain papers. There are, of course, brilliant<br />
exceptions, as when the One man who knows<br />
can be got to speak, or when one who is allowed<br />
to be a leader speaks. For the most part the<br />
writers are not known by the world to be of<br />
greater eminence on this question or on that<br />
than the anonymous writer in the Times or the<br />
Spectator.<br />
Another reason, perhaps equally weighty, is<br />
the undue prominence given by English maga-<br />
zines to literary papers and especially those of the<br />
mournful or the savage kind. It is a great<br />
mistake to suppose that people, even of culture,<br />
are always wanting to tear the literature of the<br />
day up by the roots, to see how it is getting on;<br />
and it is quite certain that the kind of criticism<br />
<br />
<br />
## p. 46 (#60) ##############################################<br />
<br />
46<br />
THE AUTHOR.<br />
which only sneers and depreciates, and can only<br />
find in the popularity of a writer a reason for<br />
pretended contempt, is offensive to all readers,<br />
whether of culture or not. Of the “Decay of<br />
Fiction,” the “Decay of Poetry,” the “Decay of<br />
the Drama,” people have already heard too much.<br />
Americans do not strike this note, nor will they<br />
endure it; theirs must be the note of hope, eager<br />
looking forward and confidence. There is no<br />
reason why in every field of intellect, art, science,<br />
imagination, this note of confidence should not be<br />
struck by ourselves. I, for one, believe that it is<br />
the true note—that the present is a time of great<br />
endeavour and of deserved success. It is true<br />
that there are failures by the million, because<br />
there are attempts by the million. Instinctively<br />
the people — better class and all — turn with<br />
disgust from the pessimist and the mournful<br />
downcrier of what he dares not even try to<br />
imitate. Let us leave the million failures to die<br />
in nameless peace. Let us rejoice in the successes,<br />
and lift up our heads with something of the<br />
American hope and confidence. We are a young<br />
country still, with our future still before us.<br />
These are some of the reasons why the English<br />
magazine is distanced and beaten by the American:<br />
rival. The problem before us is this: “How are<br />
we to maintain a high level of style and subject,<br />
and yet make a serious bid for the popularity<br />
which this rival obtains P” W. B.<br />
*- - -º<br />
- - -<br />
NOTES AND NEWS,<br />
Tº Literary Congress of San Francisco<br />
seems to have been a comparative failure.<br />
The original plans, a correspondent writes,<br />
were changed, and it was hurried upon the boards<br />
long before the time originally planned. Conse-<br />
quently few were there, and “it became merely a<br />
provincial gathering of people of unequal ability,<br />
and not in the least representative of California.<br />
It was disappointing to those who had been most<br />
active in planning it.”<br />
*-<br />
It is pleasant, for one who took part in it, to<br />
read that the Literary Congress of Chicago is<br />
bearing fruit in the best possible way. The<br />
following is an extract from the Critic of New<br />
York, the only paper to which we can look for a<br />
week-by-week record of American literature:<br />
It was evidently not in vain that Chicago lavished her<br />
millions in time and money upon the Fair. The intellectual<br />
returns are beginning to come in, and they indicate a<br />
remarkable enlargement of vision, an increased appreciation<br />
of science and art, and of what they can offer. It was<br />
inevitable that such would be the result; the mere labour of<br />
design and construction was bound to develop the ingenuity<br />
and the resources of the people. But the most sanguine of<br />
us looked forward many years before the evidence of this<br />
inspiration should appear. We did not expect the fruit to<br />
ripen overnight ; we forgot the rapidity with which the<br />
American people take up an idea and develope it and make<br />
it their own. Of course, it is too soon for the effect to be<br />
visible in deeds, but there are many things that indicate the<br />
general tendency. And not the least of these is the state-<br />
ment of Mr. Hill, the librarian of the Public Library, in<br />
regard to the changes in the demand for books. He says<br />
that the standard of quality in the books called for at the<br />
library is decidedly higher than it was a year ago.<br />
Art has felt the same stimulus from the Fair. The inte-<br />
rest in pictures and sculpture is evidenced by the crowds<br />
that enter the Art Institute, and even more positively by the<br />
statements of the dealers. Mr. O’Brien, who has been giving<br />
a series of delightful exhibitions of works by American<br />
painters, says that a year ago such pictures would have been<br />
utterly neglected here. But at present the galleries in which<br />
they are hung are crowded. Many collectors, too, have been<br />
developed by the Fair—men and women who, before it,<br />
never thought of buying a picture. These facts are, of<br />
course, merely straws, but they show the direction of the<br />
wind. The fruit of the fair in production will be slower in<br />
ripening, but the buildings, the statues, the pictures, and<br />
poems it will inspire will be worth the waiting for.<br />
“At the dinner of the Authors’ Club last week, which<br />
brought together a large company, who seemed to be toler-<br />
ably happy in spite of the continued existence of publishers,<br />
Mr. Leslie Stephen foretold ‘the coming of that glorious<br />
time ’ when writers will be better paid than they are now.<br />
The prophecy excited, on the whole, more doubt than<br />
belief. We hear, however, that a new literary agency is in<br />
process of formation, with a large capital behind it, which<br />
will employ its own readers, and pay authors a sum down as<br />
soon as it has approved their works. One of its chief<br />
objects will be to force up the average price of serial<br />
rights.”<br />
The above is a cutting from the Athenæum of<br />
June 9. One wonders who are the people who<br />
amuse themselves by concocting such paragraphs.<br />
The Authors’ Club has held no dinner at all except<br />
its monthly house dinner. Mr. Leslie Stephen has<br />
never yet favoured the club with his presence at<br />
that or any other function. The Authors’<br />
Society held its annual dinner, and the president<br />
of the evening was Mr. Leslie Stephen. His speech,<br />
reported verbatim, will be found on p. 39 of this<br />
number. The words attributed to him were not<br />
spoken by him; he did not “foretell the coming<br />
of that glorious time ’’—the inverted commas<br />
mean a quotation, which makes it a deliberate<br />
invention—when writers will be better paid than<br />
now. He said nothing of the kind; he did not<br />
use the words “glorious time ’’ at all; what he said<br />
was that, in the aim of the Society towards the<br />
adjustment of their own affairs, he wished it every<br />
success. “The prophecy excited, on the whole,<br />
more doubt than belief.” Wonderful | First,<br />
to invent a prophecy, never uttered, and them to<br />
describe the way in which that prophecy was<br />
received Even a prophet of Baal had to say<br />
<br />
<br />
## p. 47 (#61) ##############################################<br />
<br />
THE AUTHOR.<br />
47<br />
something before his audience began to consider<br />
his prophecy.<br />
As regards the alleged “new literary agency,”<br />
that bears on the face of it every sign of being<br />
another invention—perhaps an invention intended<br />
to be comic. Certainly no one in his senses could<br />
deliberately set himself to persuade people that a<br />
company had been formed whose “chief object”<br />
was to force up the “average" price of serial<br />
rights. What, to begin with, is the “average *<br />
price? Is it the average of all the magazines<br />
and journals that exist without reference to<br />
subject, circulation, name, character of the paper?<br />
As for “forcing,” one has always considered, in<br />
matter of papers for magazines, that the editor<br />
is a despot from whose word there is no appeal.<br />
He can say, and he does say, that his remuneration<br />
is a certain stipulated sum. It is for the author<br />
to “take it or leave it.” Nor can any “forcing ”<br />
alter this condition of things. Certain magazines<br />
and journals acquire a good name for their<br />
treatment of contributors in this respect; such a<br />
good name, no doubt, is a very useful thing for a<br />
journal to possess; one ventures to believe and to<br />
hope that it helps the circulation. Certain other<br />
magazines acquire precisely the opposite reputa-<br />
tion, insomuch that the literary world regards<br />
with complacency the decline and fall of those<br />
magazines. The only influences that can be<br />
brought to bear upon this monarch of all he<br />
surveys—the editor—are those of competition<br />
first—it needs no company “with a large capital<br />
behind it,” to create competition among editors;<br />
and, next, a sense of what is due to the producer,<br />
in other words, a sense of justice. Since the most<br />
friendly relations seem to prevail between the<br />
editors of our high-class magazines and their con-<br />
tributors, it seems as if this sense of justice does<br />
exist.<br />
The following is from the New York Critic.<br />
The same circular has been sent to myself,<br />
doubtless among many others:<br />
Authors have strange requests sometimes. Here is one<br />
recently received by a well-known novelist from the editor<br />
of a periodical which up to this time has devoted itself to<br />
illustration rather than to text :—“Although it is not the<br />
custom of our paper to publish stories, yet if you have<br />
an unpublished novel of medium length which you could<br />
remodel only to the extent of having a portion of the scenes<br />
laid in studios and art galleries, I should be pleased to have<br />
you submit the same, and am willing to pay well for it. We<br />
always pay for MSS. as soon as accepted.” There is some-<br />
thing attractive in this last statement, for authors as a rule<br />
are needy. The one in question is not, however, so he failed<br />
to be caught on this well-baited hook. The editor of this<br />
paper evidently thinks that authors have no feelings, or<br />
why would he expect them to recast their stories to suit his<br />
audience P<br />
A very useful compilation is the Index to the<br />
Periodicals of the World, published by the<br />
Review of Reviews Office. The list of periodi-<br />
cals fills thirty-seven pages devoted to English<br />
and American periodicals alone, and fifty pages<br />
for the periodicals of all countries. Reckoning<br />
roughly, an average of thirty-four to a page, we<br />
have 1700 periodicals of the whole world indexed<br />
in this volume, and I 258 English and American<br />
periodicals. Those that specially concern our-<br />
selves—the literary journals—are about Io2 in<br />
number, but there are many others — some<br />
educational, musical, artistic, historical, legal,<br />
economical, medical, and scientific, which concern<br />
many of our members. The papers and articles<br />
on literature in one or other of its branches are<br />
innumerable. It is the one subject of which<br />
editors seem never tired. The American perio-<br />
dical abounds with personal descriptions of<br />
literary men, especially with accounts of their<br />
methods of working, about which one wonders<br />
why there exists any curiosity at all; for certainly,<br />
if one knew the methods of every writer under<br />
the sun, without natural aptitude one would be<br />
not a whit advanced. The discussion of the<br />
novel is more favoured by English magazines.<br />
The reason, one fears, is not that the public<br />
demands this vast mass of criticism or talk about<br />
literature, but that it can be produced in any<br />
quantity, either from the man with a name or the<br />
man without a name. These indexes have<br />
become indispensable. .<br />
I have always advocated for those writers who<br />
are not men—or women—of business the employ-<br />
ment of an agent. The only argument which<br />
appears to me of any weight at all against the<br />
middleman is that where an author is able to<br />
manage his own affairs he may just as well do so,<br />
and save the commission. Even in that case it<br />
may be worth the author's while, if he is a busy<br />
man, to let his agent think for him and plan for<br />
him. As for those who do not possess the<br />
necessary knowledge or habits of business, the<br />
only danger, it seems to me, that they have to<br />
fear is that of falling into bad hands, and the<br />
only real objection that can be raised, by the<br />
other side to the agent, is that he is expected to<br />
conduct negotiations in a business manner; in<br />
other words, he prevents his client from being<br />
“bested ”—a word which very often covers, but<br />
does not hide, another and an older word.<br />
Now, if the agent works for the author, he<br />
must be paid by the author. This seems ele-<br />
mentary. But I have heard certain stories which<br />
ought, I think, to be brought out into light.<br />
There is, for instance, the story of the author who<br />
<br />
<br />
## p. 48 (#62) ##############################################<br />
<br />
48 THE AUTHOR.<br />
comes to the agent, finds out the name of the editor<br />
or the publisher to whom he proposes to send the<br />
work, and then uses the information and goes<br />
there himself. There is, again, the author who,<br />
when he has been successfully placed, gets the<br />
cheque sent to himself, and then refuses to pay<br />
the commission. There is, again, the case where<br />
the publisher writes direct to the author after<br />
receiving an offer from the agent. It is of course<br />
the author's duty, as a matter of honour, to send<br />
that letter to the agent in whose hands he has<br />
already placed the MS., and whose work for him<br />
has obtained this offer. Unfortunately he does<br />
not always do so. Now, most of these practices<br />
come from failing to understand that transactions<br />
in literature are like those in every other kind of<br />
business, so that the same rules should obtain<br />
between author and agent as between client and<br />
solicitor. Of one thing writers may rest assured,<br />
that any attempt made to detach the author from<br />
his agent can only be due to an intention to<br />
profit by the author's ignorance. As for the<br />
pretended desire to maintain friendly relations,<br />
a friendship which will not survive the adjust-<br />
ment of honourable terms between two men is<br />
worth nothing — nothing at all. Any person<br />
who ventures to put forth this ridiculous plea<br />
stands self-condemned.<br />
On more than one occasion an agent's commis-<br />
sion of so much per cent. has been represented to<br />
an author as the deduction of a royalty of so much<br />
per cent. " This amazingly impudent assertion has<br />
been actually accepted and credited Let us there-<br />
fore see exactly what it means. We will suppose<br />
a royalty of 20 per cent., which is a little over<br />
Is. 2d. On a 6s. book. The returns show a sale,<br />
say, of 3OOO copies, which at this royalty means<br />
for the author the sum of £180. On this the<br />
agent takes, say, Io per cent., i.e., 318. Now, if<br />
the commission had been the deduction of a IO per<br />
cent. royalty, the agent would have received £90.<br />
A commission is a percentage on the whole<br />
amount received from royalties or from purchase;<br />
a royalty is a percentage on the advertised pub-<br />
lished price of each copy. This explanation may<br />
seem elementary, but there are really no “sums”<br />
in literary business which are too elementary to<br />
be explained.<br />
“But,” said a publisher plaintively, “why incur<br />
this extra expense P Why not come to me,<br />
as my friends, Lord Addlehede and Professor<br />
Insipiens always have done, direct, and so save<br />
the intervention of the other party P” Let us,<br />
in reply, without calling names, or getting angry,<br />
recognise the plain fact that when a man of<br />
business transacts affairs with a man who does<br />
not understand business, the former always gets<br />
the better of the latter, which is the reason<br />
why Lord Addlehede and the Professor above<br />
named would do well to consider their ways, and<br />
approach their publisher with the help of a man<br />
of business.<br />
The book of the month is, of course, our<br />
President’s new novel, “Lord Ormont and His<br />
Aminta.” A great many have followed it in its<br />
course through the Pall Mall Magazine.<br />
Meredithians—how large a company have they<br />
become !—will rejoice in it, while the old charge<br />
of obscurity certainly cannot be brought against<br />
any of the characters in this the latest, and, in<br />
some respects, perhaps the best of this author's<br />
remarkable series of novels.<br />
William Watson's sonnet to France (June 25,<br />
1894), which appeared in the Westminster<br />
Gazette, seems to me very fine. To France—<br />
“immortal and indomitable France.”<br />
Nation whom storm on storm of ruining fate<br />
Unruined leaves—nay, fairer, more elate,<br />
Hungrier for action, more athirst for glory !<br />
It is the gift and the privilege of the poet to<br />
speak the voice of one nation to another in days<br />
of great sorrow or great disaster, as well as in<br />
days of great joy and great victory. William<br />
Watson speaks to France for England:<br />
Little thou lov’st our island—<br />
Yet let her in these dark and bodeful days,<br />
Sinking old hatreds 'neath the sundering brine—<br />
Immortal and indomitable France —<br />
Marry her tears, her alien tears, to thine.<br />
The premature death of Mr. John Underhill<br />
from some affection of the brain—a tumour<br />
apparently—took place on Wednesday, June 27,<br />
at his residence, Wimbledon. Mr. Underhill was<br />
only twenty-nine years of age. He was born at<br />
Barnstaple, where he was privately educated by<br />
the Rev. Dr. Cunningham Geikie, at that time<br />
vicar of Barnstaple. He developed an intense<br />
love for books and for everything that belongs<br />
to literature. It became obvious that no career<br />
except that of literature was possible for him.<br />
He therefore came to London proposing such<br />
a career. He was armed with one or two<br />
letters of introduction. One of these was to<br />
Mr. W. T. Stead, who was at that time assistant<br />
editor, or actual editor, of the Pall Mall<br />
Gazette. Mr. Stead assisted the lad, as he has<br />
assisted many others, by giving him a start. He<br />
placed him in his office and taught him<br />
journalism. He remained on the staff of the<br />
Pall Mall Gazette till a few weeks ago, when<br />
<br />
<br />
## p. 49 (#63) ##############################################<br />
<br />
THE AUTHOR.<br />
49<br />
he resigned his post, intending to devote<br />
himself entirely to literature. As an original<br />
writer he would not have succeeded; he knew<br />
his own limitations, and aspired only to the<br />
humbler but not less useful work of editing,<br />
annotating, writing biographies, and compilations.<br />
That is, he would never have become a bookmaker;<br />
but he would have been, and was already, a<br />
most useful and trustworthy editor. His private<br />
character was beyond all reproach ; he was<br />
always, as a journalist, on the side of honour and<br />
of truth; as a reviewer he was wholly unin-<br />
fluenced by personal feelings, he was incapable<br />
of rancour or of spite. That he had his own<br />
way to make in the world only increases the<br />
honour of having made his way so far with so<br />
much distinction. That he made friends every-<br />
where is a proof of his generous and sympathetic<br />
mature. He was especially engaged at the time<br />
of his death on a history of journalism. He<br />
leaves behind him a young widow and one<br />
child.<br />
WALTER BESANT.<br />
*- a .sº<br />
GEORGE ELIOT AND HER CREED,<br />
NE little story of George Eliot's childhood<br />
has lingered ſong in my memory, for in a<br />
measure it typified the creed shaping each<br />
novel and story, long after it ceased to be her<br />
personal one, remaining the much more widely<br />
diffused faith she chose to give to the world in<br />
her books. When a child at school, an essay was<br />
given her to write, and the subject set was God,<br />
little Marian Evans drew upon her paper, for sole<br />
essay, a large eye.<br />
And does not each novel and poem inclose<br />
the awful eye of unsleeping, unforgetting fate P<br />
For no single character is ever allowed “to fly<br />
responsibility.”<br />
Her mind hardly seems to have been wrought<br />
into creative sympathy with the thought of the<br />
nineteenth century; although her youth witnessed<br />
an era of great political reform, and her middle and<br />
later life was surrounded by the most advanced<br />
literary and philosophic thoughts of this century.<br />
Notwithstanding all these stirring influences at<br />
work around her, to a large extent her imaginative<br />
and constructive force remained alien to the<br />
“march of events,” political and social, which<br />
swept past her, and left her, the dispassionate his-<br />
torian of the provincial scenes of her early youth,<br />
and of fifty years earlier. Her creed at times<br />
discloses a tendency to an almost barren fatalism,<br />
her characters invariably creating an adverse<br />
destiny for themselves, woven out of their<br />
early follies and failures. Like the cruel god-<br />
mother of a fairy tale, George Eliot possesses<br />
the fearful and mysterious gift of dowering<br />
her dramatis personae with some one fatal, irradi-<br />
cable weakness, which the reader foresees from<br />
the beginning of their history pre-destines them<br />
to certain failure and disaster; the retributive<br />
justice of inexorable consequences frustrating<br />
their every effort to right themselves or retrace<br />
their hapless steps through the labyrinths of<br />
early sins and errors, a creeping Nemesis being<br />
evolved at each step, to hunt them down till they<br />
sink into the slow torture of their moral and<br />
social death. Maggie Tulliver, the slave of<br />
generous impulse, is doomed to high failure, with<br />
her gift of feeling and thinking nobly, yet of<br />
acting impulsively in crucial moments; from the<br />
early days of childhood, when on a visit to a<br />
severe aunt she upsets brother Tom's tea by the<br />
bestowal of a too impulsive caress, given at an<br />
inauspicious moment, down to the time when, a<br />
beautiful young woman, she runs away with<br />
Stephen, gliding, indeed, but a small way down<br />
the stream of temptation, but awaking to a sense<br />
of duty too late to save appearances or irreme-<br />
diable grief to those she best loved. So that<br />
when the choice of utter renunciation of personal<br />
happiness is made, her initial error has robbed<br />
self-sacrifice of the first bloom of dignified<br />
heroism, and her life has turned to the dull ache<br />
of failure and inadequate retrieval; but this is<br />
finely transmuted into the heroism of her death.<br />
Running up and down the gamut of George<br />
Eliot's creations, each one is the sport of some<br />
apparently wilfully self-created destiny; a Jugger-<br />
naut car of untoward consequences set loose upon<br />
the victim of circumstances; heredity and free<br />
will engaged in ceaseless warfare for the possession<br />
of the human soul.<br />
Lydgate, the lowable doctor in “Middlemarch,”<br />
full of enthusiasm for his profession and a great<br />
tenderness for the suffering—has not the author<br />
chosen that fate should use him too grievously<br />
ill, when she gave him a lovely, heartless,<br />
shallow wife, whom he had chosen to wed, partly<br />
from the fact that, with all his brilliant gifts<br />
and winning traits, there is in his character just<br />
a tinge of intellectual egoism which made him<br />
count brains superfluous in the woman he<br />
married; that lack of finer judgment making<br />
him lose his hold on the ennobling ideals of life.<br />
Yet these little flaws in Lydgate's character<br />
doom him to be another soul's tragedy of<br />
baulked achievement, and he tells his wife in<br />
late years, with sad irony, that she is like a<br />
certain plant which is known to flourish best on<br />
dead men's brains. Perhaps a less inexorable<br />
moralist than George Eliot would have con-<br />
ferred happiness upon him, later in his life, by<br />
<br />
<br />
## p. 50 (#64) ##############################################<br />
<br />
so<br />
THE AUTHOR.<br />
the bestowal of Dorothea's love, but so stern a<br />
moralist is seldom happy in the contemplation of<br />
too much unaccounted for happiness, unrelated<br />
to moral sequence—unweighed in the judicial<br />
moral scales.<br />
At times, one half suspects, the force of these<br />
ethical strictures arose from a lack of ideality,<br />
for an idealist abhors the fixity of moral judg-<br />
ments. George Sand, her French prototype, who<br />
suffered from an excess of luminous ideality,<br />
seldom or never passed moral judgment on her<br />
creations, for with her was the large tolerance of<br />
the humanist, and the love which says, com-<br />
prendre, c'est pardoner.<br />
In the “Spanish Gipsy” is worked out the<br />
modern conception of the forces of heredity,<br />
playing through the woof and warp of indivi-<br />
dual character, which she thus defines: “I saw it<br />
might be taken (the drama of the ‘Spanish<br />
Gypsy”) as a symbol of the part which is played<br />
in the general human lot by hereditary conditions<br />
in the largest sense, and of the fact that what<br />
we call duty is entirely made up of such condi-<br />
tions, for even in cases of just antagonism to the<br />
narrow view of hereditary claims the whole back-<br />
ground of the particular struggle is made up of<br />
our inherited nature. Suppose for a moment<br />
that our conduct at great epochs was determined<br />
entirely by reflection, without the immediate<br />
intervention of feeling which supersedes reflec-<br />
tion, our determination as to the right would<br />
consist in an adjustment of our individual needs<br />
to the dire necessities of our lot, partly as to<br />
natural constitution, partly as sharers of life<br />
with fellow beings. Tragedy consists in the<br />
terrible difficulty of this adjustment, ‘the dire<br />
strife of poor humanity’s afflicted will struggling<br />
in vain with ruthless destiny.’”<br />
“The collision of Greek tragedy is often that<br />
between hereditary entailed Nemesis and the<br />
peculiar individual lot, awakening our sympathy<br />
for the particular manor woman whom the Nemesis<br />
is shown to grasp with terrific force. . . .”<br />
IHence sprang the abiding sadness of George<br />
Eliot's creed, the insistent sombre criticism of<br />
life and human effort. Her private letters to her<br />
personal friends are melancholy reading, so often<br />
do her words limp between headache and peren-<br />
nial pessimism. Her literary career, however,<br />
was a smooth one, she served no long probation<br />
to the muse, her genius burst full blown upon a<br />
world which received it with unqualified praise,<br />
and she won success without ever experiencing that<br />
“grace of discouragement” by which Browning<br />
climbed to the bracing heights of his rare<br />
optimism.<br />
Did the gloom of her moral dynamics crush<br />
out of her the capacity for being happy?. She<br />
did not labour under the bane of being in too<br />
great advance of her time, nor of heralding<br />
unpopular truths; for her genius lay rather in<br />
presenting the old truths with matchless wit and<br />
pathos, than in lending that great genius to light<br />
the birth of the new. GRACE GILCHRIST.<br />
*~ * ~ *<br />
BOOK TALK,<br />
R. EDMUNID GOSSE has admitted into<br />
M the International Library, of which he<br />
is the editor, two novels by authors<br />
who have been previously represented in the<br />
series. The novels are “Farewell Love,” from<br />
the Italian of Matilde Serao, the author of<br />
“Fantasy,” and “The Grandee,” from the<br />
Spanish of Armando Palacio Valdés, the author<br />
of “Froth.” Whether it was the great success<br />
which attended the publication of “Fantasy.”<br />
in English, or whether the Editor considers<br />
“Farewell Love" to be the superior novel, does<br />
not appear from his introduction. Though perhaps<br />
the fact that it is a most enjoyable book would be<br />
reason enough for publication. Mr. Gosse lays<br />
great stress on the fact that the author is a jour-<br />
malist, and “all her life has been spent in minis-<br />
tering to appetites of the vast rough crowd that<br />
buys cheap Italian newspapers.” The story is<br />
true to its title; it tells of love and jealousy, of<br />
a baulked elopement, an unfortunate marriage,<br />
and self-destruction. One passionate scene<br />
follows another so quickly that the reader is<br />
surprised by the skill with which the real<br />
wickedness of the characters is concealed. There<br />
is a husband—one Cesare Dias—who is extremely<br />
like “Grandcourt,” cold, cynical, and “not<br />
a wordy thinker.” Except that he is Italian,<br />
he has a thoroughly English hatred for scenes,<br />
and finds his romantic young wife Anna Dias<br />
— née Aquaviva — a bore, and tells her so.<br />
In fact, previous to their engagement we are<br />
told she had taken the humiliating step of<br />
declaring her love; and here are three charac-<br />
teristic letters showing what happened : “Dear<br />
Anna, All that you say is very well; but I don’t<br />
know yet who the man is that you love.—Very<br />
cordially, Cesare Dias.” She read it, and<br />
answered with one line : “I love you.-Anna<br />
Aquaviva.” Cesare Dias waited a day before he<br />
replied: “I)ear Anna, Very well. And what<br />
then P-Cesare Dias.”—The translation is by<br />
Mrs. Harland, and reads very smoothly, though<br />
there is one odd phrase on p. 63: “‘Would you<br />
like a rose?” She asked to placate him.”<br />
Quite recently Mr. Grant Allen, in the West-<br />
minster Gazette, told us Londoners to go to Italy<br />
<br />
<br />
## p. 51 (#65) ##############################################<br />
<br />
THE AUTHOR. 5 I<br />
and revel in beauty denied us here. One would<br />
think that in default we could not do better than<br />
read the novels of Matilde Serao.<br />
“The Grandee” is a powerful story, turning on<br />
the horrible subject of cruelty to children, or in<br />
this case rather to one particular child. The<br />
author describes the state of society in a Spanish<br />
town called Lancia, thirty or forty years ago,<br />
which is identified for us by the editor as Oviedo,<br />
a place of about Io,000 inhabitants, the capital of<br />
Asturias. It is with the private life of a few of the<br />
leading families in this town that the reader has<br />
to make himself acquainted, and, though he must<br />
not expect anything much more than the visits<br />
of friends, the description of At-homes and<br />
marriage fêtes, there is, in spite of some Sameness,<br />
hardly a dull page in the book. It is most inte-<br />
resting to note how, in spite of the narrowness<br />
of life which is generally found in provincial<br />
towns, the Spaniards here described never seem<br />
to be at a loss for an enlivening incident. The<br />
stock-in-trade of their amusement is, it is true,<br />
the eternal subject of match-making, which is<br />
described as being carried on with great vigour<br />
by the elders, in spite of their constant mistakes.<br />
We are uncertain whether the author intends to<br />
reprove this custom or not, for indirectly he cer-<br />
tainly brings out that it shielded the hero in his<br />
adultery, enabling him to appear in public as the<br />
accepted suitor of one lady while he is the lover<br />
of another. This is the more amusing side of the<br />
book; but, as we have said, there is another aspect<br />
which is not only extremely serious, but is of<br />
such a nature that we cannot help wondering<br />
what moral conclusion different readers will draw<br />
from it. That well-to-do people have been known<br />
to treat young children with cruelty cannot be<br />
denied, and Mr. Gosse writes: “Nor do the<br />
reports of Mr. Benjamin Waugh permit us to<br />
question that such horrors are daily committed<br />
at our own doors.” This brings the matter so<br />
directly into the sphere of practice that we may<br />
look to the pages of this novel for light on the<br />
question of child protection, actually under dis-<br />
cussion by those who are not simply interested<br />
out of curiosity, but deeply moved by the subject.<br />
We may suppose that, in spite of its danger to<br />
liberty, some people would ask for increased<br />
powers of obtaining evidence, when they were<br />
reasonably certain cruelty was being practised.<br />
The lesson we draw from this work is of a diffe-<br />
rent nature. We must remember that to abuse<br />
the parent is part of the bias of some professional<br />
men, notably the pedagogue and the cleric, and<br />
therefore in any case of alleged cruelty it is well to<br />
try and discover what the actual parentage of the<br />
child is, otherwise there is a danger of legislation<br />
being based on false information. The point<br />
that comes out most clearly in “The Grandee”<br />
is that where the victim is illegitimate as much<br />
would be gained by altering the position of such<br />
children, and so stopping the temptation to cruel<br />
treatment, as can possibly be gained by legisla-<br />
tion, which would also interfere with the well-<br />
established duties of lawfully married parents<br />
towards their children. Mr. Gosse also raises<br />
another nice point, “Whether these maladies of<br />
the soul are or are not fit subjects for the art of<br />
the novelist is a question which every reader<br />
must answer for himself.” To which it may be<br />
suggested, by way of reply, that as long as there<br />
are customs which shield gross immorality, the<br />
art of the novelist is well employed in laying<br />
bare the evil, lest these matters should fall into<br />
the hands not of the novelist, but of the sensation-<br />
monger, and become the cause of hurried and<br />
ill-considered legislation. The translation of<br />
“The Grandee’’ is by Miss Rachel Challis, and<br />
it seems to read quite as easily as many English<br />
novels; but we should like to know what authority<br />
the translator has for making the word “lover”<br />
feminine.<br />
Mr. Gilbert Parker's latest story, “The Trans-<br />
lation of a Savage,” is one which must come as a<br />
happy surprise to the most persistent novel<br />
reader. Whether the main idea is really possible<br />
we do not care to ask, because the author has<br />
used it so well that any carping criticism tending<br />
to spoil the illusion, when we have been given so<br />
much pleasure, would be entirely out of place.<br />
We are to take it for granted that an American<br />
Indian, the daughter of the chief of her tribe,<br />
being sent on her marriage with an English<br />
General’s son to his family in England, could be<br />
translated, as Mr. Parker calls it, into a refined<br />
member of English society. Once grant this<br />
difficulty, and then the amusement which arises<br />
out of the process of “translation” meets us at<br />
every page. We are not bored with details as to<br />
how the transformation is brought about, but the<br />
force of example and surroundings do much, and<br />
personal devotion does the rest. Only once does<br />
the young lady, as we may call her, really forget<br />
to be English, and then she takes to riding madly<br />
across her father-in-law's property in the dress<br />
and style of her tribe. A child is born to her in<br />
England, but her husband remains in Canada,<br />
and she has learnt to hate him. The reason of<br />
all this it is not our business to tell. The matter-<br />
of-fact reader who could find fault with Mr.<br />
Parker for his choice of incident would be very<br />
foolish indeed, for we have here a story in which<br />
the author has been able to depict malice and<br />
revenge, as well as true love and friendship, in a<br />
compass long enough to make one good volume,<br />
but with such a charming narrative style that<br />
<br />
<br />
## p. 52 (#66) ##############################################<br />
<br />
52<br />
THE AUTHOR.<br />
nearly every reader will make a point of finishing<br />
it at a single sitting. +<br />
Mr. Austin’s new volume, “The Garden that I<br />
Love,” has much in it to awaken the envy of his<br />
fellow poets. He obtained the lease of an old<br />
manor house, and the reader will learn how he<br />
converted it to suit the author-gardener's taste<br />
and his sister Weronica's sense of comfort and<br />
house room. It will be seen that, though the<br />
|book is properly enough named, it is more the<br />
garden-lover's leisure and his talks with his two<br />
guests rather than the garden apart that we have<br />
to hear about. Of the guests one is a poet, who<br />
is not only so in name but recites his own poetry,<br />
the other a young lady called Lamia. The garden<br />
becomes the happily suggestive subject for con-<br />
versation which takes a wide range from the<br />
almost frivolous to the lofty and serious. Of the<br />
two women “Veronica ’’ and “Lamia,” we prefer<br />
the latter, though poetic justice is done by<br />
making Veronica, the housekeeping lady, who<br />
has a sweet sense of tidiness, marry the poet.<br />
Her redeeming quality is a love for old-fashioned<br />
goods, especially if she can purchase them cheap.<br />
As to Tamia, with one’s recollection of Keat's,<br />
her name would suggest, not a reptile itself, for,<br />
though there four persons in this garden—two<br />
pairs—it is not the serpent of Eden she suggests,<br />
but the power of sudden transformation, always<br />
seeming to be possessed by a demon of contra-<br />
diction. Paying due attention to the large<br />
number of flowers, shrubs, and trees which are<br />
here given, some under their popular, others<br />
under their Latin names, we have allowed our-<br />
selves to imagine the author doing the honours<br />
of “The Garden that he Loves” to Lady<br />
Corisande, to Dr. Rappacini and his lovely<br />
daughter, and with almost equal pleasure to<br />
Mrs. Gardiner—Gardiner by name and gardener<br />
by nature as Tom Hood describes her. Lady<br />
Corisande would find much that is old fashioned<br />
and sweet smelling—just her garden in favoured<br />
spots, over which to grow enthusiastic. Dr.<br />
Rappacini would be able to ponder over the<br />
contrast between his own—the garden of an<br />
herbalist—and the garden that the poet loves.<br />
Mrs. Gardiner would find a friend who would<br />
understand at once why, in spite of her widow’s<br />
weeds she should still say of herself “I am<br />
single and white ” and of her maiden neighbour<br />
“she is double and bloody.” But we think these<br />
three visitors would each have asked how the<br />
Ampelopsis Veitchii got there, which belongs not<br />
to manor-houses and poets, but to the jerry-<br />
builder of the suburb. In the manor-house, if<br />
anywhere, the old Virginia creeper should hold<br />
its own.<br />
The Tennyson memorial, which is to be erected<br />
tion of a work by Wilhelm Joseph<br />
on “the ridge of the noble down '' at Freshwater,<br />
will be an international and not a local under-<br />
taking. The Americans are showing an active<br />
interest in the project. Mr. Arthur Warren, the<br />
London correspondent of the Boston Herald,<br />
who resides during a portion of each year in the<br />
Isle of Wight, is a member of the committee<br />
having the memorial in charge, and his recent<br />
appeal to his countrymen has resulted in the<br />
organisation of an American committee, which<br />
has among its members Dr. Oliver Wendell<br />
Holmes, Miss Alice Longfellow, a daughter of<br />
the poet, Mrs. Burnett, daughter of the late<br />
James Russell Lowell, President Eliot of Harvard<br />
University, Mrs. Agassiz, the widow of the great<br />
naturalist, Professor Charles Eliot, Norton, T. B.<br />
Aldrich, Margaret Deland, the author of “John<br />
Ward, Preacher,” Professor Shaler, Mrs. James<br />
T. Melds, the widow of the publisher who intro-<br />
duced Tennyson, as well as Carlyle, to American<br />
readers, Dana Estes, the head of the publishing<br />
house of Estes and Lauriat, Mrs. Julia Ward<br />
Howe, Miss Sarah Orne Jewett, the Hon. Robert<br />
C. Winthrop, Mr. Martin Brimmer, and Mr.<br />
PIowells. The English committee met at Fresh-<br />
water on Monday, June 5, and accepted the<br />
design which Mr. Pearson, R.A., has submitted<br />
for the memorial. The design is an Iona cross,<br />
34 feet high, graceful in proportions, and beauti-<br />
fully ornamented. By an arrangement with the<br />
Masters of Trinity House the cross will super-<br />
sede the present Nodes Beacon, a wooden struc-<br />
ture, and will be known as the Tennyson Beacon.<br />
On one face of the base will be carved in bold<br />
1etters the name “Tennyson,” and on another<br />
face these words: “Erected by friends in Eng-<br />
land and America.” The cross will stand near<br />
the seaward edge of the great down, 716 feet<br />
above high water mark, and will be visible for<br />
many miles by sea and land.<br />
“The Violoncello and its History” is a transla-<br />
Won<br />
Wasielewski. The translation is executed by<br />
Miss Isabella E. Stigand, and the publishers are<br />
Messrs. Novello, Ewer, and Co. There is no other<br />
history of the instrument at all.<br />
“Mr. John Lee Warden Page is of medium<br />
height, his face tanned, and his moustache<br />
bleached in quite an Australian manner by expo-<br />
sure to sun and storm. Mr. Page lives just out-<br />
side Ilfracombe, and only pays flying visits to<br />
London now, though he was once a lawyer in<br />
London.” This notice was intended to be compli-<br />
mentary, and it is therefore unfortunate that it<br />
should contain so many mistakes. Mr. Page's<br />
second name is Lloyd, not Lee; he is not of<br />
“medium height,” unless six feet is medium ; his<br />
<br />
<br />
## p. 53 (#67) ##############################################<br />
<br />
THE AUTHOR.<br />
53<br />
moustache is not bleached at all, either by sun or<br />
by storm; and he has never practised as a lawyer<br />
in London. Still, it might have been much<br />
WOTSé,<br />
We recently mentioned the publication of Mr.<br />
Joseph Hatton's early novel of “Clytie ’’ as being<br />
published in Swedish, following the success of<br />
his “By Order of the Czar” in that language. It<br />
is interesting to learn that an edition of the<br />
latter sent into Finland has been confiscated by<br />
the Russian authorities. The Swedish Press<br />
appears to be unanimous in its commendation of<br />
“By Order of the Czar,” and in most cases the<br />
criticism is couched in a high spirit of literary<br />
appreciation. The Smaalandposten says: “Of<br />
all the pictures of life in the great Eastern<br />
Empire of Europe which have appeared during<br />
recent years not one, probably, can bear com-<br />
parison with Joseph Hatton's novelin its startling<br />
vigour of delineation.” The Gothenburg Post<br />
describes the book as “No average commercial<br />
novel, but a literary work of enduring worth; ”<br />
and the Helsingborg Dagblad speaks of “The<br />
epic calm’’ with which the author describes the<br />
many horrors of Russian despotism.<br />
Messrs. Sampson Low announce in their<br />
2s. 6d. series of novels uniform with Black,<br />
Blackmore, and other popular writers, two novels<br />
of Joseph Hatton previously in their 6s. library,<br />
namely, “The Old House at Sandwich’” and<br />
“Three Recruits and the Girls they Left Behind<br />
Them.” The locality of “The Old House at<br />
Sandwich * is no fiction; the house a reality and<br />
a very interesting one.<br />
“Patient Grizzle,” who was with us a popular<br />
figure till about two centuries ago, would pro-<br />
bably have been quite forgotten by this time if<br />
it were not for Chaucer's admirable “Clerke's<br />
Tale,” which still finds numerous readers and<br />
admirers. In Germany the memory of the<br />
heroine of patience has been kept up by Halm's<br />
famous drama, “Griseldis,” of which Professor<br />
Benbheim has just issued an edition at the<br />
Clarendon Press. The introduction contains,<br />
besides a short “Life " of the author, the<br />
Griselda legend as told by Petrarch and<br />
Boccaccio, and an account of its subsequent<br />
literary treatment in and out of Italy. The<br />
true gist of the drama, with its picturesque<br />
Arthurian background, is shown in the critical<br />
analysis.<br />
Rürschner’s “Deutscher Litteratur Kalendar ”<br />
which, thanks to the full notices, brought on<br />
this valuable literary annual by the Spectator<br />
and the Literary World, is now fairly well<br />
known in this country, has made its sixteenth<br />
appearance both enlarged and improved. Every<br />
information as regards living German authors<br />
and literary institutions now flourishing in<br />
Germany, may be found in this publication in<br />
a condensed form, so that it is not to be<br />
wondered at that the Litteratur-Kalendar was<br />
honoured two years ago, together with the same<br />
editor's highly useful Staatshandbuch, with a<br />
prize at Chicago. We have yet to add that<br />
the publication of the annual has been trans-<br />
ferred to the well-known firm of G. J. Göschen<br />
at Stuttgart.<br />
A story entitled “Phil Hawcroft's Son,”<br />
by Gerda Grass, will run in serial form<br />
through the Newcastle Weekly Chronicle from<br />
July 14.<br />
Mr. L. J. Nicholson, who is known among his<br />
friends as “The Bard of Thule,” is about to pub-<br />
lish, by Mr. Gardner, Paisley and London, a<br />
volume of his poems, which will be entitled<br />
“Songs of Thule.”<br />
Mr. Bloundelle-Burton’s first novel, “The<br />
Silent Shore,” is about to reverse the ordinary<br />
method of procedure adopted by romances, viz.,<br />
having originally appeared in volume form, it is<br />
now going to be run as a serial in several country<br />
papers. It has already been dramatised—at the<br />
Olympic—it was reprinted in the United States,<br />
and it has had the somewhat unusual experience<br />
of running as a serial in the Spanish language in<br />
South America.<br />
A new edition (being the fifth) of “Chitty's<br />
Statutes of Practical Utility” is just being<br />
brought out by Mr. J. M. Lely, assisted by col-<br />
leagues at the Bar, in about twelve volumes<br />
(Sweet and Maxwell Timited; Stevens and Sons<br />
Limited). It is intended to contain all public<br />
general Acts of Parliament, except those repealed<br />
or obsolete, or applying to Scotland or Ireland<br />
only, or to limited areas only in England, or those<br />
which are of little or no interest to the lawyer or<br />
the general public. The Acts will be fully anno-<br />
tated and indexed. The first volume will appear<br />
in the present month. The publishers are issu-<br />
ing a circular stating that the price of the work<br />
when completed, will be a guinea a volume, but<br />
that a subscription of 6 guineas, prepaid before<br />
Aug. I next, will entitle the subscribers to the<br />
complete work. This is being done in order that<br />
the publishers may ascertain in advance the<br />
approximate number to print. In an editorial<br />
announcement which accompanies the circular,<br />
Mr. Lely states that the Acts comprised will<br />
number some 23OO, and enumerates the titles<br />
under which they will be grouped in alpha-<br />
betical order. The first volume is expected<br />
to contain the titles “Act of Parliament” to<br />
“Charities.”<br />
<br />
<br />
## p. 54 (#68) ##############################################<br />
<br />
54<br />
THE AUTHOR.<br />
“From Manuscript to Bookstall” ” is the title<br />
of a book on publishing by Mr. A. D. Southam,<br />
It professes to give information on the cost of<br />
production and on the various methods of pub-<br />
lishing. As regards the former, we have to<br />
notice that the charges for composition are in<br />
some cases higher than those in the Society’s<br />
book called the “Cost of Production.” We do<br />
not attach much importance to this discrepancy,<br />
because a printer's bill is always an elastic thing.<br />
Moreover, it is certainly not the desire of the<br />
Society to cut down the pay of printers and book-<br />
binders, but rather the reverse; therefore, we<br />
welcome the book, so far, and without accepting<br />
its figures, as a step in the right direction.<br />
Above all things, and as the preliminary to<br />
future and better arrangements, we must know<br />
what things mean, what printing and paper cost,<br />
and the rest of it. One notices a curious discre-<br />
pancy repeated in every page of the “Cost of<br />
Production.” It is that for an edition of 500<br />
copies paper is reckoned by the ream, and for a<br />
thousand copies it is reckoned by the sheet, the<br />
ream in the first instance standing for the sheet.<br />
One would advise the compiler of the book to lay<br />
his prices before two or three other firms of<br />
printers when he produces another edition. Some-<br />
thing, too, is desired on the subject of discounts;<br />
the prices given in the Society’s estimates do not<br />
contemplate discounts.<br />
The part of the book devoted to the different<br />
methods of publishing is neither exhaustive nor<br />
satisfactory. For instance, the word royalty is a<br />
very vague expression. We want to know what,<br />
given certain conditions, should be accepted as a<br />
fair royalty; we want to know the meaning of a<br />
deferred royalty,<br />
The thanks of authors are, however, due to the<br />
writer for his recognition of the principles always<br />
advocated by the Society, viz: :<br />
I. The audit of the accounts.<br />
2. The understanding at the outset of all the<br />
clauses in the agreement.<br />
3. A voice as to the advertisements where there<br />
is division of profits.<br />
The real “intention” of the book, however, is<br />
to advocate a system of seals or stamps by which<br />
the author shall always know how many copies of<br />
his books have gone into circulation. The method<br />
seems to us cumbrous. It would certainly be<br />
difficult to get publishers to accept the system.<br />
The reader, however, is referred to the book for<br />
the arguments in favour of it.<br />
-*<br />
* “From Manuscript to Bookstall.” By A. D. Southam.<br />
London: Southam and Co., St. Paul’s-buildings, Paternoster-<br />
row. 58.<br />
Mr. Isidore G. Ascher, the author of “An Odd<br />
Man's Story,” and a Canadian volume of poems,<br />
“Voices from the Hearth,” has just sold Messrs.<br />
Diprose, Bateman, and Co., a one-volume novel,<br />
which will appear in the autumn. It is sensa-<br />
tional and physiological, a somewhat rare com<br />
bination. -<br />
*—- ~ 2--"<br />
r- - -,<br />
CORRESPONDENCE,<br />
I.—GRAMMATICAL : USE of “No R.”<br />
Grammar depends upon usage rather than<br />
logic. Usage depends partly upon logic and<br />
partly on euphony, or upon what is most<br />
readily intelligible when uttered.<br />
The best guide, in questions such as the<br />
present one is neither Murray nor Mason, but<br />
Mätzner, who gives a large number of examples<br />
from standard authors. Those who cannot read<br />
German may consult Grice's Translation, vol. iii.,<br />
p. 355, &c. -<br />
“It did not rain nor blow" is logically correct.<br />
“It did not rain or blow ’’ is colloquially permis-<br />
sible, chiefly because the sentence is short.<br />
Lengthen it, and observe the difference. We<br />
could hardly say, “It did not rain any longer, or<br />
did it blow at all.” Mätzner shows that even<br />
good authors occasionally use neither—or instead<br />
of neither—nor. But much depends upon the<br />
length and general form of the sentence. I<br />
should advise every author to judge for himself.<br />
To doubt whether the word nor has a right to<br />
exist is needless. Of course it will exist as long<br />
as our language, because in many collocations it<br />
is indispensable. WALTER W. SKEAT.<br />
II.-KICKED OUT.<br />
I sent in the MS. of a short story to a well-<br />
known firm of publishers last February. Ten<br />
weeks afterwards it was returned to me as<br />
unsuitable. I then inquired whether the deci-<br />
sion was final, or if Messrs. So-and-So might<br />
be disposed to divide the risk. They wrote in<br />
reply: “We could not undertake the publication<br />
of the story even if you took the whole of the<br />
risk.”<br />
This struck me as quite a superfluous, un-<br />
friendly sting to add to a rejection.<br />
A SENSITIVE BookMAKER.<br />
Authors’ Club, Whitehall Court, S.W.<br />
III.-REPORTER’s HARD EARNINGs.<br />
. An occasional paragrapher for Le Figaro fell<br />
in debt to a money-lender, who, two years ago<br />
<br />
<br />
## p. 55 (#69) ##############################################<br />
<br />
THE AUTHOR. - 55<br />
(April 25, 1892), served upon that journal an<br />
attachment of all moneys due or payable to the<br />
said journalist. The newspaper rejoined that<br />
there was nothing owing to the reporter, who<br />
received no salary, and was not regularly<br />
employed; but was always paid by the line, day<br />
by day, for every accepted paragraph, “echo,”<br />
or news-item he chanced to supply.<br />
The case was, however, pursued at law by<br />
the money-lender, who alleged the habitual<br />
employment of the journalist by the paper, and<br />
brought his action against the Figaro; but it<br />
dragged on, and it was only on May 3 I last that<br />
the matter was decided.<br />
The 6th Civil Court, having examined a file of<br />
the journal for two months prior to the date of<br />
the attempted setting up of a lien, was of opinion<br />
that the services rendered could not be called<br />
habitual ; but, on the contrary, that the para-<br />
graphs offered and accepted were of an “acci-<br />
dental” type, and showed no such regularity as<br />
would indicate an established engagement. The<br />
court thereupon held that the sale by a contri-<br />
butor of single articles for a sum there and then<br />
paid (which was the case before them) is mere<br />
buying and selling for ready money; that there<br />
existed no inherent right in the journalist's<br />
relations with this journal which could be con-<br />
strued into matter for seizure or attachment;<br />
and that thus the money-lender had shown the<br />
court nothing which legal process could lay hold<br />
of as attachable. The court therefore decided<br />
for the Figaro, and cast the money-lender in costs.<br />
Outside the court (and inside the journal)<br />
there is a prevalent opinion that if reporters'<br />
scant chance earnings were interceptable in this<br />
fashion, newspapers would very soon be short of<br />
Copy. J. O’N.<br />
IV.-SERIAL RIGHTS ONLY.<br />
“A Journalist” writes informing us that,<br />
“despite the very proper and energetic action of<br />
the Authors' Society in the interest of young<br />
authors, there are still proprietors of publications<br />
who send to contributors with their not too<br />
liberal cheques, formal documents in which the<br />
author is called upon to sign away to them all<br />
rights whatsoever in his work. It cannot be too<br />
frequently impressed upon authors that a contri-<br />
bution to a periodical is for the use of the said<br />
periodical and that only, the copyright for re-<br />
publication remaining with the writer. Further-<br />
more, I see that there is a question as to the<br />
time when payment should be made for contribu-<br />
tions. The money is due and payable when the<br />
accepted MS. is in the hands of the editor. I<br />
know several popular authors, and that is their<br />
ruling. Harper's, The Century, Scribner's, The<br />
Idler, The Ludgate Monthly, Macmillan's, and<br />
The English Illustrated, to which a friend of<br />
mine has contributed, always paid him on the<br />
delivery of his MS. ; then it must, of course, not<br />
be forgotten that the editors wanted his matter.<br />
The very severest terms as to payment from the<br />
honest publishers’ point of view does not go over<br />
a week after publication.”<br />
W.—AN AUTHOR’s GUIDE.<br />
Correspondents in the columns of the Author<br />
have from time to time expressed a wish to see<br />
produced an Authors’ Guide, having for its main<br />
object to give writers some practical and useful<br />
information about the various periodicals, news-<br />
papers, and publishing houses. It is a matter of<br />
complaint that, as things now are, the in-<br />
experienced author is quite unable to form an<br />
opinion for which of the numerous periodicals<br />
and newspapers his articles are most suitable,<br />
upon what terms editors would be willing to<br />
receive them, and also which of the publishing<br />
houses would be most likely to undertake the<br />
publication of any work which he may have<br />
written. It is said that the ignorance which<br />
prevails upon these points is the cause of much<br />
loss of time, unnecessary trouble, and not seldom<br />
of misunderstanding and irritation, and it is<br />
believed that a guide which would help to dispel<br />
this ignorance, and prevent these annoyances<br />
would be welcome to authors, editors, and pub-<br />
lishers alike.<br />
I am now enabled to state that Messrs.<br />
Southam and Co., of St. Paul’s-buildings, 29,<br />
Paternoster-row, have undertaken the publication<br />
of an Annual Authors’ Guide and Directory of<br />
Publishers, Periodicals, and Newspapers, in order<br />
to supply this want, and that they will gratefully<br />
receive any information or suggestions from<br />
members of the Society of Authors, with the view<br />
of making a good start in what it is hoped will<br />
be an annual publication. There is, of course, no<br />
royal road or short cut to literature, and Messrs.<br />
Southam and Co. do not intend to undertake the<br />
impossible task of trying to make one, but they<br />
hope that the book will be of real use to those<br />
who intend to apply themselves seriously to the<br />
profession of letters.<br />
All communications will be treated in con-<br />
fidence. C. B. ROYLANCE KENT.<br />
VI.-QUESTIONS FOR EDITORs.<br />
A circular to the same effect has reached us<br />
from Messrs. Southam and Co.<br />
It is accompanied by a list of questions sub-<br />
mitted to editors. They are as follows:<br />
<br />
<br />
## p. 56 (#70) ##############################################<br />
<br />
56<br />
THE AUTHOR.<br />
I. What class of contributions do you consider<br />
the most suitable for your paper ?<br />
2. What length of contribution do you<br />
prefer?<br />
3. What is your scale rate of remuneration for<br />
accepted articles?<br />
4. What are the conditions to be observed by<br />
authors in sending their contributions and upon<br />
which you are willing to receive and consider<br />
them P -<br />
5. Then give any information which you think<br />
may be of use to authors in connection with your<br />
publication. -<br />
Please send rates for advertising publications<br />
with the discount for a series and the approxi-<br />
mate circulation.<br />
VII.-“THAMES RIGHTS AND THAMES WRONGs.”<br />
“I4, Parliament-street, S.W., June 1st, 1894.<br />
Sir, Sir Gilbert East has drawn our attention<br />
to a mistake in “Thames Rights and Thames<br />
Wrongs” which we have just published. Sir<br />
Gilbert East was not a conservator at the<br />
time he gave evidence before the Select Com-<br />
mittee of the House of Commons on Thames<br />
Preservation. He was elected on Nov. 23, 1885.<br />
Your insertion of this would greatly oblige,_Your<br />
obedient servants, ARCH. ConstABLE AND Co.”<br />
*- 2-#<br />
g- * ~ *<br />
M. ZoDA’s “Lou RDES.”<br />
Paris, June Io.<br />
A telegram from Rome, published in Paris<br />
this morning, stated that the Congregation of<br />
Rites had put its ban upon M. Emile Zola's<br />
romance of “Lourdes,” which is being published<br />
by a Roman firm simultaneously with its issue in<br />
Paris. M. Emile Zola was interviewed upon the<br />
subject to-night, and said it was the first time<br />
that such an honour had been conferred upon<br />
him. He was all the more surprised, because<br />
“Lourdes” was not in any sense an attack upon<br />
religion, but simply a perfectly human picture of<br />
what would take place at the famous place of<br />
pilgrimage. One could, he added, be a very good<br />
Catholic, and yet not believe in the miracles of<br />
Lourdes.—Standard, June I I.<br />
*-- * ~ *<br />
a- - --><br />
NEW BOOKS AND NEW EDITIONS,<br />
Theology.<br />
ALEXANDER, REv. S. A. Christ and Scepticism. Isbister.<br />
ANDERSON, ROBERT. A Doubter's Doubts about Science<br />
and Religion. Second edition. Kegan Paul. 3s. 6d.<br />
BENNETT, PROFESSOR. W. H. The Expositor's Bible : The<br />
Books of Chronicles. Hodder and Stoughton. 7s.6d.<br />
BUCKHOUSE, EDWARD, AND TYLOR, CHARLEs. Witnesses<br />
for Christ. Second edition, revised and somewhat<br />
abridged. Simpkin, Marshall.<br />
DIDON, REv. FATHER. Belief in the Divinity of Jesus<br />
Christ. " Kegan Paul. 58.<br />
DISCIPLESHIP : THE SCHEME of CHRISTIANITY.<br />
author of “The King and the Kingdom.”<br />
and Norgate.<br />
GOUGH, E. J. Preachers of the Age. The Religion of the<br />
Son of Man. Sampson Low. 3s.6d.<br />
HALL, REv. H. E. Manual of Christian Doctrine, chiefly<br />
intended for confirmation classes. With a preface by<br />
the Rev. W. H. Hutchings. Longmans.<br />
MALDONATUS, JOHN. A. Commentary on the Holy Gospels:<br />
St. Matthew's Gospel. Part I. Translated and edited<br />
By the<br />
Williams<br />
from the original Latin by George J. Davie. John<br />
Hodges. Is.<br />
MAx MüLLER, F. The Sacred Books of the East. Edited<br />
by. Wol. XLIX. Buddhist Mahāyāna Sūtras. Trans-<br />
lated by E. B. Cowell, F. Max Müller, and J.<br />
Takakusu. Oxford : At the Clarendon Press. Henry<br />
Frowde. I2s. 6d.<br />
MEUGENs, REv. A. M. The Lord’s Prayer, illustrated by<br />
the Lord's Life. By A. T. M. S.P.C.K. 6d.<br />
PALMER, JOHN. Catechisms for the Young. Second<br />
Series: Teachings from Old Testament History.<br />
Church of England Sunday School Institute. 2s.<br />
Power, REv. P. B. The Husbandry of the Soul.<br />
S.P.C.K.<br />
PRESTON, REv. DR. Anti-Ritualism. With a preface by<br />
the late Rev. Dr. Blakeney. Twelfth thousand, with<br />
appendices. Protestant Reformation Society. 2d.<br />
ROBson, WILLIAM. The Lord’s Supper : Its Form, Meaning,<br />
and Purpose, according to the Apostle Paul. Second<br />
edition, with additions. Elliot Stock.<br />
SINCLAIR, VEN. ARCHDEACON. The English Church and<br />
the Canon Law. The Fourth Charge. Elliot Stock. 6d.<br />
STRONG, JAMEs. The Exhaustive Concordance of the Bible.<br />
Published by subscription. Hodder and Stoughton. 2 Is.<br />
WEDGwooD, JULIA. The Message of Israel, in the Light<br />
of Modern Criticism. Isbister. 7s. 6d. -<br />
WELSH PULPIT, THE. By a Scribe, a Pharisee, and a<br />
Lawyer. Fisher Unwin. Is.<br />
WILLIAMs, F. J. The Charm of the Presence of Christ.<br />
Partridge. Is.<br />
History and Biography.<br />
BELL, MACKENZIE. Charles Whitehead : A Forgotten<br />
Genius. New ediition, with an appreciation of White-<br />
head by Hall Cane. Ward, Lock. 3s. 6d.<br />
BELL, NANCY. Heroes of North African Discovery.<br />
Fourth edition. Marcus Ward. 3s.6d.<br />
BRITTEN, F. J. Former Clock and Watch Makers and<br />
their Work. Spon. 5s.<br />
CALENDAR of THE PATENT ROLLs preserved in the<br />
Public Record Office, Edward II. 1307-1313. Pre-<br />
pared under the superintendence of the Deputy Keeper<br />
of the Records. Eyre and Spottiswoode.<br />
CAMERON, WILLIAM E. History of the World’s Columbian<br />
Exposition. Edited under the personal supervision of.<br />
Second edition. Chicago: Columbian History Company.<br />
Four parts. 3 dollars each.<br />
CHRISTOPHER, CoLUMBUs. His own Book of Privileges,<br />
*…* 1502. Facsimile of the manuscript in the Archives of<br />
the Foreign Office in Paris, now for the first time<br />
published. Translated by George F. Barwick, with an<br />
historical introduction by Henry Harrisse. The whole<br />
edited, with preface, by Benjamin Franklin Stevens, 4,<br />
Trafalgar-square.<br />
<br />
<br />
## p. 57 (#71) ##############################################<br />
<br />
THE AUTHOR. 57<br />
CLIMENSON, EMILY J. The History of Shiplake, Oxon.<br />
For subscribers only. Eyre and Spottiswoode.<br />
CUPPLEs, GEORGE. Scotch Deer-Hounds and their<br />
Masters. With a biographical sketch of the author<br />
by James Hutchison Stirling. Blackwood.<br />
DUNN, WALTER T. Records of Transactions of the Junior<br />
Engineering Society. Wol. III.; 1892-3. Edited by.<br />
Published by the Society. -<br />
EHRLICH, A. Celebrated Pianists of the Past and Present<br />
Time. A Collection of 116 Biographies and I 14 Por-<br />
traits. Authorised English edition. H. Grevel. 7s.6d.<br />
FERGUson, RICHARD S. A. History of Westmoreland.<br />
Elliot Stock. 7s.6d.<br />
FISKE, JoHN. Life and Letters of Edward Livingston<br />
Youmans. Comprising correspondence with Spencer,<br />
Huxley, Tindall, and others. Chapman. 8s.<br />
HENDERSON, ERNEST. A. History of Germany in the<br />
Middle Ages. Bell and Sons.<br />
HoPE, MRs. The First Divorce of Henry VIII. Edited,<br />
with Notes and Introduction, by Francis Aidan<br />
Gasquet, Kegan Paul. 6s.<br />
LUDLOW, EDMUND. Memoirs, Lieutenant-General of the<br />
Horse in the Army of the Commonwealth of England,<br />
I625-1672. Edited, with appendices of letters and<br />
illustrated documents, by C. H. Firth. 2 vols. Oxford,<br />
at the Clarendon Press; Henry Frowde. 36s.<br />
LYALL, SIR ALFRED. The Rise and Expansion of the<br />
British Dominion in India. Third and enlarged<br />
edition, with maps. Murray.<br />
MACLAY, EDGAR STANTON. A History of the United<br />
States Navy from 1775 to 1893. With technical re-<br />
vision by Lieutenant Roy C. Smith, U.S.N. 2 vols.<br />
Vol. I. Bliss, Sands.<br />
MÉNEVAL, BARON CLAUDE DE. Memoirs to Serve for the<br />
History of Napoleon I., from 1802 to 1815. The work<br />
completed by the addition of unpublished documents,<br />
and arranged and edited by his grandson, Baron<br />
Napoleon Joseph de Méneval. Translated and anno-<br />
tated by Robert H. Sherard. Photogravure portraits<br />
and autograph letters. Wol. II. Hutchinson.<br />
PITMAN, SIR ISAAC. Life and Work. Illustrated. Pitman. Is.<br />
PORTAL, SIR GERALD. The British Mission to Uganda in<br />
1893. Edited, with a memoir, by Mr. Rennell Rodd,<br />
with the diary of the late Captain Raymond Portal,<br />
and an introduction by Lord Cromer. Illustrated from<br />
photographs by Colonel Rhodes, with a portrait of Sir<br />
Gerald Portal by Lady Granby. Edward Arnold. 21s.<br />
SAUNDERS, F, BAILEY. The Life and Letters of James<br />
Macpherson. Swan Sonnenschein.<br />
SMITH, REv. DR. G. ADAM. The Historical Geography of<br />
the Holy Land. With six maps. Hodder. 15s.<br />
ToRRENs, W. M. History of Cabinets, from the Union with<br />
Scotland to the Acquisition of Canada and Bengal.<br />
2 vols. Allen. 36s.<br />
WALLACE, ARTHUR. The Earl of Rosebery: His Words and<br />
his Work. Portrait. London : Henry J. Drane. Is.<br />
WoRSFOLD, REv. J. N. History of Haddlesey : its Past<br />
and Present. Elliot Stock.<br />
General Literature.<br />
ALLIES, T. W. The Formation of Christendom. Popular<br />
edition. Burns and Oates.<br />
ARTHUR, T. C. Reminiscences of an Indian Police Official.<br />
Illustrated by Horace Van Ruith and E. M. Cautley.<br />
Sampson Low. I6s.<br />
ATLAS OF ANCIENT EGYPT, with complete index, geo-<br />
graphical and historical notes, Biblical references, &c.;<br />
special publication of the Egypt Exploration Fund.<br />
Kegan Paul. 3s. 6d.<br />
BADMINTON LIBRARY : YACHTING. Large paper edition.<br />
2 vols. Longmans.<br />
BELL, HoRACE. Railway Policy in India. Rivington,<br />
Percival. I6s.<br />
BERESFORD-WEBB, H. S. Stories of Greek Heroes. With<br />
notes and vocabularies. Rivington.<br />
BoothBY, GUY. On the Wallaby. Longmans. I88.<br />
BRABNER, J. H. F. The Comprehensive Gazetteer of<br />
England and Wales. Vol. 2. Cau—Goa. Mackenzie.<br />
BRAIDwooD, DR. The Mother's Help and Guide. The<br />
Scientific Press. 2s. 6d.<br />
JBRASSEY, LORD. Papers and Addresses : Naval and<br />
Maritime, from 1872-1893. Arranged and edited by<br />
Capt. S. Eardley-Wilmot, R.N. 2 vols. Longmans. IOS.<br />
BRIGGs, R. A. Bungalows and Country Residences.<br />
Second edition, with additional plates. Batsford.<br />
I 2s. 6d.<br />
BRINE, WICE-ADMIRAL LINDESAY. Travels amongst<br />
American Indians, their Ancient Earthworks and<br />
Temples. Sampson Low.<br />
C. K. By Celtic Waters. Holiday Jaunts, with rod,<br />
camera, and paintbrush. Illustrated. Davey. 2s. 6d.<br />
CAINE, HALL. The Little Man Island. Douglas, The Isle<br />
of Man Steam Packet Company Limited.<br />
CALVIERT, ALBERT F. The Coolgardie Goldfield, Western<br />
Australia. Simpkin, Marshall. Is.<br />
CARPENTER, DR. The Principles and Practice of School<br />
Hygiene. With illustrations. Fourth edition. Allen.<br />
4s. 6d.<br />
CATALOGUE OF SCIENTIFIC PAPERs (1874-1883). Compiled<br />
by the Royal Society of London. Vol. X. C. J. Clay.<br />
CHESTERTON, THOMAs. Manual Drill and Physical<br />
|Bxercises. Third Edition. With an introduction by<br />
Charles Roberts. Gale. 2s. 6d.<br />
CoGHLAN, T. A. The Wealth and Progress of New South<br />
Wales. 1893. Seventh issue. Sydney : Charles Potter<br />
Petherick.<br />
CURTICE’s INDEx TO THE TIMEs, THE LONDON MORNING<br />
AND EVENING PAPERS, 120 WEEKLIES, AND 3.I PRO-<br />
v1NCIAL NEWSPAPERs. July 1—Sept. 30, 1893. Pub-<br />
lished quarterly by subscription. Edward Curtice.<br />
CUSTANCE, HENRY. Riding Recollections and Turf Stories<br />
New edition. Arnold. 2s. 6d.<br />
DERBY, EARL OF. Speeches and Addresses of Edward<br />
Henry, XWTH EARL OF DERBY, K.G., Selected and<br />
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a prefatory memoir by W. S. H. Lecky, and a portrait.<br />
2 vols. Longmans. 2 Is.<br />
DICKENs's DICTIONARY OF LONDON, 1894-1895. I 8. ;<br />
DICKENs's DICTIONARY OF THE THAMES, 1894. Is.<br />
J. Smith.<br />
Douglas, JAMEs. Canadian Independence, G. P. Putnam's<br />
Sons.<br />
ELLIs, Robinson. The Fables of Phaedrus : An Inaugural<br />
Lecture. Frowde. Is.<br />
ELTON, CHARLEs J. An Account of Shelley's Visits to<br />
France, Switzerland, and Savoy in the years 1814 and<br />
1816. Bliss, Sands.<br />
EUROPA’s MooDS AND BRITANNIA’s PERIL. In two cantos.<br />
By A. Pittite. Simpkin, Marshall. Is. 6d.<br />
FIELD, JoHN W. An Analysis of the Accounts of the Prin-<br />
cipal Gas Undertakings in England, Scotland, and Ire-<br />
land for the year 1893. Compiled and arranged.<br />
Eden, Fisher and Co. 15s.<br />
FINDLAY, SIR GEORGE. The Working and Management of<br />
an English Railway. Fifth edition, revised and en-<br />
larged, with portrait and biographical sketch. Edited<br />
by S. M. Phillp. Whittaker. 7s.6d.<br />
Foll ETT, FRED T. The Archer's Register, 1894. Cox. 58.<br />
<br />
<br />
## p. 58 (#72) ##############################################<br />
<br />
58<br />
THE AUTHOR.<br />
Fowl.E.R., J. K. Recollections of Old Country Life.<br />
- Longmans. Ios. 6d.<br />
Fox-DAVIES, A. CHARLEs, AND CROOKES, M. E. B. The<br />
Book of Public Arms. Compiled and edited. Edin-<br />
burgh, Jack.<br />
FRY, HERBERT. London in 1894. Originally compiled by.<br />
Revised and corrected up to date. Allen. Is.<br />
GoLFING ANNUAL, 1893-94. Edited by David Scott<br />
Duncan. Horace Cox. 58.<br />
GREENE, RoRERT. Green Pastures: Being Choice Extracts<br />
from the Works of Robert Greene, M.A., of both<br />
Universities, 1560 (?)—1592, Made by Alexander B.<br />
Grosart. Elliot Stock.<br />
HALL, ARTHUR. Hebrew Unveiled : Some Affinities of the<br />
- Hebrew Language. Asher and Co. I 8.<br />
HARTopP, CoL. E. C. C. Sport in England, Past and<br />
Present. Horace Cox. 3s. 6d.<br />
HAVERFIELD, F. Roman Inscriptions in Britain.<br />
1892-1893. Exeter: Pollard.<br />
HAYES, FRED. W. The Great Revolution of 1905. Forder.<br />
3s. 6d. -<br />
HIEROGLYPHIC BIBLEs : A Hitherto Unwritten Chapter of<br />
- Bibliography, by W. A. Clouston, with facsimile illus-<br />
trations; and a New Hieroglyphic Bible told in Stories,<br />
by Frederick A. Laing. Glasgow : Bryce. 218.<br />
Hobson, JoBN A. The Evolution of Modern Capitalism ;<br />
a Study of Machine Production. Walter Scott. 38. 6d.<br />
Hough TON, REv. W. British Fresh-Water Fishes. With<br />
numerous engravings. Deane. Ios. 6d.<br />
HounsELL, BERNARD. Coach Drives from London.<br />
Sportsman Offices. Is.<br />
HowLLLs, WILLIAM D. A Traveller from Altruria. Edin-<br />
burgh : Douglas. Simpkin, Marshall.<br />
INVESTORs’ REVIEw. Edited by A. J. Wilson.<br />
Wilsons and Milne.<br />
JARROLD’s ILLUSTRATED GUIDES TO CAMBRIDGE AND<br />
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JARRoLD’s ILLUSTRATED GUIDE To Low ESTOFT. Eighth<br />
edition. Jarrold. 6d.<br />
JohnsToME, C. L. Winter and Summer Excursions in<br />
Canada. Digby and Long. 6s. -<br />
JokAI, MAURUs. Midst the Wild Carpathians.<br />
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man. 3s. 6d.<br />
Jon Es, CHARLEs. Refuse Destructors, with results up to<br />
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RELLY's DIRECTORY OF THE CABINET, FURNITURE, AND<br />
UPHOLSTERY TRADEs. Third edition. Kelly. 20s.<br />
KIRBY, W. F. European Butterflies and Moths, with<br />
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LATIN PROSE VERSIONs. Contributed by various scholars.<br />
Edited by Professor George G. Ramsay. Large paper<br />
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